,transcriber's ,notes ,text printed in italics has been transcribed between underscores1 bold face text between equal signs4 ,small capitals have been replaced with ,,all ,,capitals4 ,more ,transcriber's ,notes may be found at the end of this text4 ,,home ,,fun ,,home ,,fun ,,by ,,cecil ,h4 ,,bullivant ,illustration3 ,,am ,i ,,right8 ,,new ,,york ,,dodge ,,publishing ,,company #bad-bbj ,,east #bc,,rd ,,st4 ,,copyright1 #aiaj1 ,,by ,,dodge ,,publishing ,,company ,,prefatory ,,note ,,not to produce workers of wonders or exponents of marvelous mysteries2 not to launch on an already over-crowded market a host of professional or semi-professional entertainers--but rather to give to those who can find real pleasure in amusing others1 such knowledge as shall enable them to transform the lagging winter hours into periods of sheer delight1 has this book been written4 ,while in no sense does it claim to be an exhaustive guide to home amusements1 it represents a serious effort to bring within the scope of one volume almost every form of popular home diversion4 ,the subjects have been dealt with from a simple but perfectly practical point of view4 ,in addition to the different accomplishments being so explained as to be easily comprehended and acquired1 the successful presentment of them is made possible at a minimum of expense4 ,the greatest difficulty which formerly faced the amateur entertainer was the heavy cost of production1 but even the most expensive form of amusement explained in the following chapters comes well within the modest 8pocket-money bounds0 of the average boy4 ,it is hoped that in 8,home ,fun0 will be found much that is entirely new concerning subjects about which little or nothing has hitherto been written4 ,whereas the paths so well trodden by authorities on entertaining are here more or less passed over1 excursions are made into equally fascinating by-ways1 an acquaintance with the delights of which cannot fail to win success and widespread approval for the promoter of entertainments at home4 ,that those who follow the many chapters on subjects so amusing and diverse may obtain from them as great pleasure as he who has compiled them is the sincere wish of the author4 ,,cecil ,,henry ,,bullivant4 ,,contents ,,chapter ,,page ,i4 ,,amateur ,,theatricals #aa ,,ii4 ,,mysteries ,,of ,,make-,,up #bf ,,iii4 ,,the ,,quick-,,change ,,artist #cd ,,iv4 ,,character ,,impersonations #da ,v4 ,,the ,,universal ,,hat #ej ,,vi4 ,,nigger ,,minstrelsy #ef ,,vii4 ,,some ,,suggestions ,,in ,,black #fb ,,viii4 ,,tableaux ,,vivants #fh ,,ix4 ,,charades #gf ,x4 ,,the ,,possibilities ,,of ,,the ,,musical ,,sketch #hf ,,xi4 ,,vamping ,,simplified #ib ,,xii4 ,,an ,,evening ,,at ,,the ,,phonograph #ig ,,xiii4 ,,musical ,,glasses #aja ,,xiv4 ,,hand-,,bell ,,ringing #aje ,,xv4 ,,the ,,art ,,of ,,drawing-,,room ,,singing #aaa ,,xvi4 ,,drawing-,,room ,,recitals #aaf ,,xvii4 ,,the ,,art ,,of ,,whistling #abc ,,xviii4 ,,bunkum ,,entertainments #abg ,,xix4 ,,ventriloquism ,,in ,a ,,month #adj ,,xx4 ,,conjuring ,,for ,,all #aeh ,,xxi4 ,,some ,,knotty ,,points #afi ,,xxii4 ,,black ,,stage ,,mysteries #agd ,,xxiii4 ,,concerning ,,ghosts #ahc ,,xxiv4 ,,some ,,stage ,,illusions #ahi ,,xxv4 ,,the ,,room ,,of ,,mystery #bja ,,xxvi4 ,,mechanical ,,second-,,sight #baa ,,xxvii4 ,,papergraphy #bbj ,,xxviii4 ,,juggling #bbe ,,xxix4 ,,plate-,,spinning ,,and ,,waltzing #bcc ,,xxx4 ,,the ,,tight-,,rope #bdj ,,xxxi4 ,,clog ,,dancing #bdd ,,xxxii4 ,,shadow ,,shows #bej ,,xxxiii4 ,,lightning ,,cartoons ,,and 8,,fake0 ,,sketching #bfc ,,xxxiv4 ,,frictional ,,fun #bgb ,,xxxv4 ,,some ,,electrical ,,effects #bhe ,,xxxvi4 ,,safe ,,scientific ,,experiments #big ,,xxxvii4 ,,safe ,,chemical ,,experiments #cab ,,xxxviii4 ,,odd ,,experiments #cbj ,,xxxix4 ,,more ,,experiments #cbi ,,xl4 ,,photo ,,pastimes #cda ,,xli4 ,,how ,,to ,,make ,,and ,,work ,,marionettes #ced ,,xlii4 ,,living ,,marionettes #cfc ,,xliii4 ,,the ,,home ,,circus #cfg ,,xliv4 ,,how ,,to ,,make ,,and ,,work ,a ,,peep-,,show #cgh ,,xlv4 ,,the 8,,mechanical0 ,,peep-,,show #chc ,,xlvi4 ,,how ,,to ,,make ,,and ,,work ,a ,,punch ,,and ,,judy ,,show #chg ,,xlvii4 ,,dissolving ,,views #cif ,,xlviii4 ,,indoor ,,fireworks #djj ,,xlix4 ,,how ,,to ,,make ,a ,,telephone #dje ,l4 ,,telegraphy ,,at ,,home #daj ,,li4 ,,elementary ,,hypnotism #daf ,,lii4 ,,the ,,powers ,,and ,,mysteries ,,of ,,clairvoyance #dbf ,,liii4 ,,table-,,turning #dcd ,,liv4 ,,palmistry #dcg ,,lv4 ,,phrenology #dde ,,lvi4 ,,telling ,,fortunes ,,by ,,cards1 ,,dice1 ,,dominoes1 ,,etc4 #deb ,,lvii4 ,,graphology #dfe ,,lviii4 ,a ,,successful ,,children',s ,,party #dgb ,,lix4 ,,parlor ,,games #dge ,,lx4 ,,parlor ,,tricks ,,and ,,puzzles #dij ,,lxi4 8,,how ,,would ,,you----80 7,,puzzles7 #eaj ,,lxii4 ,,some ,,optical ,,illusions #eai ,,lxiii4 ,,ciphers ,,and ,,cryptograms #ebg ,,lxiv4 ,,secret ,,signs #ecc ,,lxv4 ,,games ,,and ,,amusements ,,for ,,the ,,blind #ech ,,index #ede ,,home ,,fun ,,chapter ,i ,,amateur ,,theatricals ,,stage ,,construction ,,and ,,home-,,made ,,scenery ,a ,,great many people are deterred from embarking on the sea of amateur theatricals for the reason that the expense and trouble incurred in providing an adequate stage1 and in finding plays suitable for amateurs1 seem to outweigh other considerations4 ,the following hints and suggestions1 then1 are not intended for the lordly ,thespians who would aspire to flaunt their histrionic powers in public assembly-room or civic town-hall4 ,for them there are those who make it their business to erect stages1 provide 8swell0 scenery1 and all the paraphernalia required4 ,it is1 of course1 possible to act without a stage proper at all1 especially if you happen to live in a house that boasts a double drawing-room with folding doors1 in which case a curtain would also be a superfluity1 for the doors could be closed and thrown open when the audience are in their places1 though if a curtain should be deemed necessary it would be an easy matter to fix a rod from door to door4 ,but before going on to the description of how to erect a stage of a more pretentious character1 it might be as well to offer a word or two of warning4 ,remember that private theatricals are rather apt to turn a house upside-down1 so that before the performance is given it is of importance to see that all breakables are stowed away1 and that superfluous furniture is disposed of4 ,if you are going to turn your drawing-room into a theater1 take care that your guests can enter without having to pick their way in and out of needless chairs and tables4 ,details such as these may seem trivial4 ,they are1 nevertheless1 just the things that may make or mar an entertainment4 ,above all1 let there be harmony4 ,once having chosen your stage-manager1 see to it that his word is law4 ,nothing is more galling or disastrous than for every one to try and 8boss the show40 ,and if expense has to be considered1 do not try to be too elaborate with your accessories4 ,it is1 nevertheless1 possible for any one to erect in any drawing-room of average dimensions a stage that will be found perfectly adaptable to plays made adequate for it1 and that without calling in the aid of any professional carpenter or stage furnisher4 ,the stage can be constructed in the following simple manner3--,hire a number of ordinary benches or stout boxes of equal dimensions1 and on these superimpose lengths of scaffold-boarding or planks4 ,these latter should be of equal thickness throughout1 in order that a perfectly level staging may be obtained4 ,the whole may be made quite secure by the judicious use of nails1 although care should be taken that no damage is done to the benches1 or this will have to be paid for when they are returned4 ,a floor covering of felt or linoleum will also prove serviceable4 ,,the ,,drop ,,curtain ,an essential piece of stage furniture for amateur theatricals is the drop curtain4 ,it can be made from two equal widths of some serviceable material such as dark cretonne1 supported by brass rings on a stout bamboo rod1 to either end of which are attached large steel eyes 7,a1 ,a1 ,fig4 #a74 ,illustration3 ,,fig4 #a4--;,back view of drop curtain4 ,the bamboo rod should be cut to such a length that when the eyes have been added1 the whole can be fixed to steel hooks screwed into the picture-molding on either side of the room4 ,should any difficulty be experienced in procuring a rod of sufficient length1 the difficulty may be overcome by the use of two shorter pieces joined at the middle by iron sockets4 ,in the case where it is intended to give the performance in either a schoolroom or a small hall1 a curtain of much greater size and of stouter material would be required1 and this latter can be supported on a length of strong gas pipe held in position by brackets nailed to the wall at each end4 ,the arrangement for raising or lowering the curtain is shown in the diagram1 in which ,a ,a is the rod4 ,a number of small brass rings are then sewn to the back of the curtain1 as at ,a ,x and ,a ,e4 ,top rings1 much larger1 are also attached to the curtain and passed along the rod4 ,cord is next run from ,x and ,e respectively through the rings at ,a1 and allowed to hang loose as at ,d4 ,the bottom of the curtain should be weighted with shot4 ,four screens1 two on each side1 can also be requisitioned for the wings1 and a small steady table placed in each recess 7,fig4 #a;a7 for moderator lamps--preferably of the self-extinguishing pattern1 in case they should be upset by an untoward accident--to make up for the deficiency of footlights1 though these can be provided by the aid of a little ingenuity1 e4g4 candle reading-lamps with shades and reflectors begged or borrowed from accommodating neighbors4 ,tin cans cut in half1 and night-lights will serve the purpose equally well4 ,here1 again1 the inventive genius of the promoters of the enterprise will have to be called into play4 ,illustration3 ,,fig4 #a;a4--,showing arrangement of screens for exits and entrances4 ,all risk of fire should be obviated as much as possible1 and appliances for the swift extinction of a blaze near at hand4 ,by the judicious arrangement of the screens it will be possible to provide for exits and entrances on both sides of the stage4 ,,home-,,made ,,scenery ,scenery1 as a rule1 proves a great barrier to the would-be promoters of amateur theatrical enterprises4 ,the purchase of suitable surroundings for the presentation of various scenes is a luxury only to be indulged in by the well-to-do4 ,in fact1 to carry out an ordinary play on these lines involves the expenditure of many dollars4 ,it is hoped that the practical instructions given here will not only avoid such unnecessary and perhaps unwarrantable expense1 but will also tend greatly to increase the interest of those taking part in the work4 ,where scenery is required1 it is as well to confine oneself to a play that takes place indoors1 though1 of course1 it is possible even without a back-drop to give a praiseworthy presentment of an open-air scene by means of a plain background1 against which are fastened boughs of trees1 while the judicious grouping of greenhouse plants can be used at the sides1 plus a plain green felt underfoot to add to the effect4 ,however1 even these small items run away with money4 ,cut boughs fade and need replacing1 and this mode of constructing scenery will often be found by the would-be economist to cost more than he can reasonably afford4 ,of course1 for those who care to do so1 proper mounted scenery all ready for use may be purchased1 but undoubtedly the better plan is for the stage-manager to endeavor to find from amongst the members of his company one or two who are expert in the use of tools4 ,generally there are many such available1 and by the aid of the following diagrams and explanatory notes a most useful interior box scene 7comprising five 8flats0 which fit together and form the whole7 can be constructed at a cost certainly not exceeding #e4jj4 ,by repapering and making other obvious alterations1 such scenery can be transformed as necessity demands to suit any particular play--that is to say1 the addition of a few hangings and pictures1 and the substitution of other appropriate furniture will speedily change a poor man's kitchen or parlor into quite a presentable stage drawing-room4 ,,how ,,to ,,make ,,the 8,,flats0 ,to deal first with the 8flats0 or separate parts of the scenery4 ,the primary essentials for these are a number of lengths of #b-;inch battening2 other requisites being a plenitude of nails of all sizes1 glue1 brown paper or canvas1 powdered color1 and size4 ,the purpose of this latter commodity is for painting the wood-work or any other desired article1 such as a sideboard1 dresser1 or fireplace4 ,cut the battening to lengths appropriate to the dimensions of the stage1 or1 in other words1 with due regard to the height of the room and the width and depth of the platform4 ,fig4 #b shows the general arrangement of the five 8flats10 placed in the order shown1 with the largest one1 consisting of the double doors1 in the center4 ,now1 as the width of these 8flats0 depends entirely upon the space they occupy when put into the position indicated by the diagram1 the stage carpenter must commence his plan of construction with this fact clearly in mind4 ,should a particularly large stage be available1 then it may be desirable to extend the scenery1 in which case one or more straight 8flats10 similar to that numbered #d in ,fig4 #b1 can be added at each end or where desired4 ,illustration3 ,,fig4 #b4--,showing usual arrangement of flats4 ,illustration3 ,,fig4 #c4--;,construction of 8flat0 containing door4 ,illustration3 ,,fig4 #d4--;,flat for window opening4 ,the frame-work for the respective 8flats0 appears in ,figs4 #c1 #d1 #e1 and #f1 the method of joining corners being indicated by the elevation and sectional drawing depicted in the corner of ,fig4 #e4 ,the vertical and horizontal supports are merely fitted in flush and glued4 ,for doors and window openings a slightly stouter battening will be found necessary4 ,fig4 #c gives a clear idea of the main lines of construction of a practical door1 which is to be fixed to the 8flat0 by means of hinges4 ,when hingeing doors1 take particular care so to place the hinges that the doors swing outwards--that is1 from the point of view of the audience4 ,this precaution obviates the necessity of painting both sides of the doors4 ,a reference to ,fig4 #d shows a window opening which can be used either as a lattice1 working on the same principle as the door1 or as an ordinary window1 which can be suggested by gluing a strip of wood horizontally across the center4 ,illustration ,illustration3 ,,fig4 #e4--;,flat for double doors4 ,illustration3 ,,fig4 #f4--,plain flat4 ,in ,fig4 #e the central opening 7the double doors of the plan7 serves for curtains fixed to rods by means of sliding rings1 or merely as ,french windows4 ,of all the 8flats10 this is the most valuable1 because it is capable of utilization in a multitude of ways4 ,for instance1 should the scene be an elaborate drawing-room1 the opening will lend itself to ,french windows1 through which can be seen park-land or gardens in the distance4 ,again1 for the presentment of a humble apartment1 it has only to be covered with a dresser or any other commonplace article of furniture4 ,should an opening be required to another room1 curtains of course can be hung4 ,fig4 #f depicts a plain 8flat40 ,the next operation is the covering of the frames1 accomplished by the use of brown paper1 or1 should expenses permit1 of canvas4 ,the brown paper is first cut to the size required1 and then glued to the frames1 only the openings for windows and doors being left4 ,if canvas is chosen for the covering1 nailing will be found necessary4 ,to prevent sagging1 and to preserve the flat appearance of the material1 coat thinly and evenly with a solution of size and water4 ,,papering ,the next item for consideration is papering4 ,a visit to almost any paperhanger's will reveal the fact1 that the shopman possesses quantities of certain designs1 perhaps not quite large enough to be of practical service to him for papering a room4 ,in this circumstance the stage carpenter should be able1 by the expenditure of a few cents1 or a quarter at the outside1 to obtain quite enough for his purpose4 ,next1 he can procure from any builder's yard a few lengths of architrave or beaded edging for doorways and windows4 ,this will have to be mitered and fixed to the frames4 ,a few slips of board1 with beading along one edge1 should also be purchased at the same time for fixing to the bottom of the frames to form the skirting4 ,now paste the wall-paper to the frames4 ,illustration3 ,,fig4 #g4--;,complete door with section4 ,illustration3 ,,fig4 #h4--;,flat #a or #e converted into exterior cottage door4 ,having satisfactorily constructed all the 8flats10 fix them together in the order shown in the plan--i4e4 each to each--by means of pieces of bent zinc and screws4 ,additional supports are often required1 such as iron brackets screwed to the bottom of the 8flat0 and the floor1 as indicated by the crosses in ,figs4 #c and #e4 ,to give a finished effect1 paste brown paper over the whole of the door frames1 and produce the appearance of panels by the addition of mitered thin beading or slips of wood 7,fig4 #g74 ,the door panels may then be painted according to taste with a mixture of any powdered color and dissolved size4 ,the fixing of a knob or handle with a long screw renders the thing complete4 ,reference to the plan marked ,fig4 #b reveals the fact1 that the two end 8flats0 7#a and #e respectively7 are alike4 ,now1 while one of these 8flats0 may be utilized for an interior door 7,fig4 #c71 it may be found extremely useful so to prepare its fellow that it represents an exterior cottage door1 and to use it as a wing at one side of the stage in another scene4 ,it should then appear as in ,fig4 #h4 ,to obtain this result1 a section of scenery has to be covered with brown paper or canvas1 as already described for the interior door4 ,should canvas be decided upon1 first prepare it by adding a coating of mixed size and whiting1 to form a background for the painted design4 ,in this case the door itself is covered on the outside with paper1 and lines are drawn down to give an idea of planks nailed vertically together4 ,a latch-handle can either be purchased and fixed for a few cents1 or an imitation one painted in4 ,the lintel and doorposts are constructed by gluing or nailing battening of a sufficiently stout nature1 that it projects to the degree indicated by the section in ,fig4 #h4 ,the purpose of this latter projection is to allow for the addition of a latticed porch1 which will give that picturesqueness so essential to stage scenery4 ,,making ,a ,,portable ,,porch ,a glance at ,fig4 #i will put the amateur stage carpenter in full possession of all details relating to the construction of this latticed porch4 ,of course1 it will be found necessary to make two pieces of the part numbered #a--;i4e4 the batten frame and cross-pieces--as one will be fixed on either side of the door to support the roof4 ,the lattice-work may be purchased in a length1 or made from laths1 and nailed to the frame4 ,fix the sides of the porch close up to the doorposts by means of zinc brackets and pins1 as indicated by the two crosses4 ,next pin on the roof1 as at #d1 ,fig4 #i4 ,paint the finished porch bright green and the roof red4 ,a second reference to ,fig4 #h shows that it suggests a design of bricks1 covered with creeper or a tree4 ,if necessary1 treat the other side of the window 8flat10 by painting it in similar fashion1 and fix it alongside the door to form an additional wing4 ,a ,,portable ,,fireplace ,a very useful adjunct to the plain 8flat0 7,fig4 #f7 is a portable fireplace1 which is depicted in detail in ,fig4 #aj4 ,to make this1 buy a length or so of -inch planking1 one length of which should be cut for the mantelpiece1 according to the size required4 ,next cut two supports of equal dimensions to form the sides 7,a1 ,a1 in elevation74 ,these are nailed to the 8flat10 and the mantelpiece is kept in position by two solid wooden brackets 7,d1 ,d74 ,two slips are also added to the base of the supports at ,e1 ,e4 ,the piece ,c is let in flush with ,a1 ,a4 ,illustration3 ,,fig4 #i4--;,construction of portable porch4 ,illustration3 ,,fig4 #aj4--,portable fireplace and grate4 ,below this1 to the back of the rectangular opening1 attach a piece of very stout blackened cardboard1 of the shape shown1 leaving an opening for a real or a painted grate 7,f74 ,should the former be preferred1 it may be produced from pieces of thin battening1 as shown in the elevation and section4 ,to obtain a realistic effect1 fill the grate with non-inflammable metal tinsel 7,c1 ,c71 and further to enhance the realism1 support a small galley-pot on a blackened bracket or block of wood 7,a71 the galley-pot being filled with cotton-wool soaked in methylated spirit4 ,the application of a match produces a flame at ,b 7see section of grate1 ,fig4 #aj74 ,a ,,movable ,,counter ,,or ,,sideboard ,fig4 #aa gives the front and back view of this very useful piece of stage furniture1 which may be utilized either as a counter1 sideboard1 or bottom of a dresser2 or1 appropriately draped and surmounted by a looking-glass1 it may serve as a dressing-table4 ,illustration3 ,,fig4 #aa4--,portable counter or sideboard4 ,illustration3 ,,fig4 #ab4--;,detached parts of counter or sideboard4 ,the sections are illustrated in ,fig4 #ab1 the pieces marked #a forming the sides1 #b the top1 and #c the front4 ,steel eyes are numbered #d1 and their purpose is to hold the sides1 front1 and top together by strong cord1 attached as in the back view of ,fig4 #aa4 #e in ,fig4 #ab is a projecting panel1 also seen in the front view of ,fig4 #aa4 #f 7,fig4 #ab7 indicates the back supports to which the front joined boards are nailed4 ,the beading which is fixed along three sides of the top is seen at #g 7,fig4 #ac74 ,having thoroughly grasped the details outlined above1 commence to make the sideboard from -inch boarding4 ,to each of the side-pieces add a bottom support of stouter material1 marked with a cross in ,fig4 #ab4 ,the front is next placed across the supports in such a position that the top fits down on them and holds all three pieces in place4 7,see dotted line at #g1 ,fig4 #ac2 this diagram also depicts the separate pieces in elevation47 ,it is not worth while 8spoiling the ship for a ha'p'orth o' tar10 or1 in this instance1 the sideboard for a coat of paint4 ,before applying this latter1 paste the structure over with brown paper1 and then give it a coating of yellow ochre and size4 ,a grained appearance may be produced by utilizing an old coarse comb1 the fine grain being attained with the thin teeth and the coarse grain with the stout4 ,to obtain the graining1 proceed as follows3 on the dry coating of yellow ochre put a second coating of dark brown ochre1 mixed with size as before1 and whilst wet comb in zigzag lines4 ,illustration3 ,,fig4 #ac4--,the separate pieces in elevation4 ,the great advantage attaching to all the scenery and artificial furniture described is that it can be easily fitted together1 taken to pieces1 and packed flat1 thus occupying a minimum of space4 ,for practical purposes it will be found quite equal both in appearance and for durability to that for which many dollars are charged at a theatrical supply dealer's4 ,a ,,back-,,cloth ,the construction of home-made theatrical effects may be closed with brief hints regarding the much-needed and ever-useful back-cloth1 which plays a part in most exterior scenes1 such as park lands1 gardens1 c4 ,it consists of several lengths of calico joined together to form a square of the size required4 ,this is then fixed on a large wooden roller with a similar roller at the bottom to weight it1 and prepared with a coating of size and whiting4 ,a friend of unquestionable artistic ability should be asked to paint in a view or other scenery4 ,in scene-painting bear in mind that only the brightest and most vivid colors are to be used4 ,the colors are made from powder mixed with size1 and must be applied with broad touches for distant effects4 ,the back-cloth can be fixed according to the means available4 ,for the proscenium1 three pieces of wood to suit breadth and size of stage must be requisitioned1 the portion destined for the top being gently sloped from an arch or apex in direct line with the center of the curtain1 and covered with some tastefully-colored paper which gives the appearance of heavy satin panels4 ,a sewing bee should be formed among the ladies interested in the company1 and she who has sufficient prowess with her scissors should be chosen to cut the garments and superintend the needlework of her friends4 ,this will prove a profitable way of spending the long winter afternoons4 ,imitation hair wigs1 beards1 c41 may be procured at various prices4 ,the best plan to adopt in finding a play suited to the limitations of material of an embryo company is to spend a small sum on some 8,guide to ,selecting ,plays40 ,in these pages will be found abundant suggestions and explanations of specimens1 dealing from the simplest one-act1 thirty minutes' production to the five-act1 three hours' drama4 ,the outline of each plot is given1 and a summary of the dramatis person required4 ,miss ,keating's 8,plot of ,potzentausend10 for example1 is an excellent one-act play1 in which only male characters are required4 ,interest in the fair sex is1 however1 cleverly maintained1 for the four swains have each a lass to occupy their affections4 ,the costumes1 a description of which is given on the front page1 are of the time of ,louis ,,xiv41 and the scene is a small frontier village in ,germany4 ,this is an admirable1 amusing1 and not too ambitious performance for boys home for the holidays4 ,grindstone is a miller of a sour and unfriendly disposition4 ,he is secretly involved in small political intrigues1 and1 in order to meet the ,chevalier d',espion without the knowledge of the villagers1 refuses to allow the lads and lasses their usual yearly privilege of dancing in his barn1 to which they naturally take exception4 ,grindstone's personality and physical appearance are as gray1 grim1 and cold as the substance after which he is named4 ,he is tight of lip1 thin of figure1 and possessed of a countenance which expresses a miserly cunning1 dislike of frivolities1 and hypocritical semblance of virtue4 ,although vastly respected1 he is not overwhelmed with the affections of his fellow-men1 and is termed1 even by his servant ,sacks1 to be something of a rogue4 ,sacks1 his man1 is a thick-set hunchback1 with a round1 jolly face and optimistic temperament1 which presents a strong contrast to his master's saturnine character4 ,max1 a young sergeant1 of smart demeanor1 is weighted by a sense of his own importance1 insipid of face1 and overbearingly superior in manners4 ,louis1 a lawyer's clerk1 pale and meek1 rat-faced and rather wily1 grasping in disposition1 and something of a flirt4 ,fritz1 a young peasant1 whose sentences generally terminate with 8as a body may say10 shows a priggish and cautious attitude to preserve his own skin at any cost4 ,his expression is a delightful mixture of rustic placidity and guileless cunning4 ,the ,chevalier d',espion1 a smart1 condescending person of uncertain age and carefully preserved complexion2 his gold lace and feathers lend him as irreproachable an aloofness and pride as the peacock demonstrates towards the jackdaw4 ,illustration3 ,plan of ,room in ,grindstone's ,house ,the table should be covered with a cloth sufficiently long to touch the ground on all sides4 ,the rear of the high-backed chair and window-curtain are to be used as hiding-places1 and must be practicable for the purpose4 ,small chairs and an old stool are also required4 ,except for a small lighted lamp which ,sacks1 the first to enter1 places on the table1 the stage is in darkness4 ,this play takes thirty-five minutes4 ,the plot is built on the misunderstanding that arises between the four swains--who have unconsciously chosen the same place and hour to meet their ladies--and the ,chevalier d',espion1 who1 expecting to find a quartette of fellow-conspirators1 mistakes them for such in disguise4 ,soldiers appear to arrest the ,chevalier1 who manages to escape4 ,sacks proves the identity of the rest1 and so all ends happily4 ,the dialogue must be brisk and the action kept interesting4 ,acted in the right spirit1 it cannot fail to produce roars of merriment4 ,it has a further advantage of not being too great a strain on the memorizing powers of those who have never previously essayed to learn prose by heart4 ,a reliable prompter1 concealed from the audience1 should be close at hand4 ,his business is to follow the dialogue intently1 giving aid when necessary in a clear1 low voice4 ,words should never be whispered1 nor too loudly spoken4 ,a happy medium is acquired by experience4 ,the make-up required by the characters is as follows3-- ,sacks 7florid flesh tint71 grease paint 7red7 ,no4 #b2 a slight cobweb of good-natured wrinkles and crowsfeet1 such as would be caused by laughter4 ,red1 black1 or gray wig1 according to taste4 ,grindstone 7sallow flesh tint71 chrome grease paint2 peevish and discontented lines about the mouth1 furrowed forehead1 peruke slightly gray1 nose paste to enlarge nose1 sparse ruffled eyebrows4 ,louis 7sallow flesh tint71 chrome grease paint2 peruke any color fancied1 premature wrinkles1 small white4 ,a few front teeth in upper gum stopped out with small noir4 ,max sunburnt4 ,fritz ruddy4 ,the ,chevalier d',espion bronzed4 ,officer and guard1 #b medium flesh4 ,another fascinating play for boys is 8,the ,poor ,relation10 also written by ,miss ,keating1 and included with 8,the ,plot of ,potzentausend0 in 8,a ,series of ,original ,comedies40 ,grease paints should be composed of pure chemical fat and colors free from lead1 otherwise they will make havoc with sensitive skins4 ,artificial complexions should never be scrubbed from the face by means of soap and water4 ,cocoa butter gently applied on the corner of a soft dry towel will rapidly erase every mark1 and is an excellent tonic for the skin4 ,grease paints1 rouge powder1 cocoa butter1 spirit gum1 sponge-towel1 puff1 crpe hair1 hare's foot1 patches1 tongs1 hairpins1 joining paste1 brush and comb1 lip salve1 liquid blanc de perle1 scissors1 mirror1 mustache1 vanquisher1 needles1 cotton1 soap1 sponge1 c41 can be purchased in compact make-up cases at prices from #ae4jj down to #b4ej4 ,amateurs are sometimes prone to stiffness and artificiality of gesture and exaggeration of expression1 also to too much or too little movement4 ,a perfectly natural manner can only be gained by throwing oneself whole-heartedly into the play1 and uniting oneself with the other dramatis person4 ,acting editions of both playlets mentioned above may be obtained of ,messrs4 ,samuel ,french1 of #bh ,west #chth ,st41 ,new ,york4 ,each actor has1 as it were1 his little orbit of movement1 but this should not be circumscribed in a conventional1 studied manner4 ,ease and self-control should cover all mastered technique in voice1 attitude1 and gesture4 ,words should be clearly delivered1 and pronounced without any pedantic phrasing or forced utterance2 and this will only be achieved by constant and careful rehearsing4 ,the personality of each character must be distinct and individual4 ,when an amateur company is formed1 each member should pay a fee in proportion to the strength of the casts and the drama they hope to produce4 ,the stage-manager's choice of characters should stand inviolable1 providing1 of course1 he presents sufficient discretion and insight to distinguish between the different trends of talent possessed by his players4 ,in almost every company there are a few players who are inclined to fancy that they can do justice to a rle given to some one else1 rather than to the one they are studying4 ,this is a form of very human discontent which ,quince1 the stage-manager of the players in 8,a ,midsummer ,night's ,dream10 had to battle against4 ,flute bemoaned his fate1 and excused himself from playing the woman's part1 on the plea1 8,i have a beard coming40 ,bottom was torn between a desire to undertake ,thisby and the lion4 8,i will roar that ,i will make the duke say1 #8,let him roar again1 let him roar again4' 444 ,i will roar you as gently as any sucking dove40 ,as adamantine as the sagacious ,quince against these eloquent appeals must be the modern stage-manager when the would-be tragedian importunes him to play the heavy rle1 or the individual who believes himself endowed with hidden genius1 to portray the part of light comedian4 ,thus only is success achieved4 ,,chapter ,,ii ,,mysteries ,,of ,,make-,,up ,,the ,,foundation ,,it is necessary that the amateur who wishes to make his efforts at private theatricals a success should have a fair knowledge of the art of 8make-up40 ,while no great amount of money need be expended1 at the same time the best results can be obtained only from the use of good cosmetics4 ,grease paints1 obtainable from any purveyors of theatrical appliances1 are excellent and not very expensive4 ,there is no doubt that many people consider it quite sufficient to dab a little paint on the face1 smear it over carelessly with the addition of some powder1 and imagine1 quite erroneously1 that they are well made-up4 ,the outward signs of character are to be represented by 8make-up10 and it is quite essential that this effect should be produced2 therefore1 with a slight knowledge of what is to be avoided1 and what effected1 the home-actor should attain to some degree of success4 8,wig-paste10 ,no4 #b1 is usually considered the best foundation for pink complexions1 and according to shade required1 deeper colors can be used1 such as #c1 #d1 c4 ,thus1 if being made up for the part of a pretty young girl1 the first number is best2 if for a middle-aged woman1 ,no4 #c2 while for elderly men of choleric temperament ,no4 #d would be more suitable4 ,it must be borne in mind that the foundation of wig-paste should be carefully put on1 and well smoothed before the structure or blending of colors to produce a natural appearance is commenced4 ,whether this is done well or badly will make all the difference to the final results4 ,,lining ,lining is an important part of 8make-up10 by its aid the lines of the face being diminished or deepened1 shadows created for sunken effects1 and 8high lights0 produced--i4e4 touching up the cheek-bones to give them prominence4 ,by careful use of this latter branch of 8make-up0 the whole character of the face can be changed4 ,high lights are produced by a lighter shade of grease paint than that used for the rest of the complexion1 being placed upon the feature to be emphasized2 for instance1 if the actor wishes his nose to appear thinner1 he will draw a straight white line from the top to the tip1 enhancing the effect with a careful application of the gray paint 7,fig4 #a;a74 ,the cheek-bone1 nose1 chin1 and brow are parts of the face which are made up for high lights1 though if wrinkles are to be accentuated this is usually done by the addition of a 8high light0 effect on each side of the existing dark line 7,figs4 #a;b and #a;c74 ,illustration3 ,,fig4 #a;a4--,high lights4 ,illustration3 ,,fig4 #a;b4--,high lights4 ,illustration3 ,,fig4 #a;c4--,high lights4 ,to make cheeks appear hollow1 gray-lining paint is used1 the effect of emaciation being produced by the careful blending of the last-named paint with the grease paint previously put on4 ,illustration3 ,,fig4 #b4--,low lights4 ,shadows1 or low lights1 give the effect of hollowed cheeks and sunken eyes1 and instead of making features more pronounced1 as is the case with a careful 8high light0 make-up1 decrease the prominence which certain parts usually possess 7,fig4 #b74 ,when making-up for a beldame1 or some other character which should appear more than usually haggard1 a striking effect is obtained by adding a spot of either dark-gray or brown1 and blending it outwards4 ,illustration3 ,,fig4 #c4--;,before lining4 ,illustration3 ,,fig4 #d4--;,after lining4 ,the lining of the eyes requires special attention1 more particularly as their appearance depends so much upon the change of the eyelids 7,figs4 #c and #d72 eyelashes too1 when properly treated1 make a vast difference to the usual expression4 ,when it is necessary that the eyelashes should be more pronounced1 black grease paint is put on to the end of an artist's stump1 melted very slowly by being held over a candle or other flame1 and so applied4 ,care should be taken1 however1 that no grease paint goes into the eye1 so when melting it must not be allowed to become too soft4 ,black-lining grease paint is the best for eyelashes1 and the amount applied depends entirely upon their natural thickness and darkness4 ,for darkening or lightening the eyebrows1 grease paint 8liners0 are indispensable1 and much preferable to ,india ink4 ,sometimes it is necessary to obliterate part of the eyebrow before the rest is 8drawn-in10 in which case it is first of all coated with soap and then covered with the same grease paint as used for the groundwork of 8make-up40 ,this done carefully1 and toned to the same shade as the rest of face1 leaves the actor free to 8draw-in0 any shaped eyebrow he desires4 ,for a very thin eyebrow a toothpick can be utilized to advantage1 a little melted grease paint being rubbed upon it1 and the line drawn with it 7,figs4 #e and #f74 ,for ,oriental effects the obliteration of the eyebrows is essential1 and fresh ones with an upward tendency can be drawn-in at will1 when once the natural ones have been made to disappear4 ,more often than not it is necessary to increase the eyebrows1 making them look thick and heavy1 and if ,nature has endowed the player with massive ones1 it is an easy matter to comb them up the wrong way and apply a small quantity of grease-paint2 but if they are naturally thin the aid of false ones must be sought4 ,crpe hair1 which is an indispensable accessory to the 8make-up0 art1 can here be brought into use1 the ever-helpful 8adhesia0 being required as well4 ,illustration3 ,,fig4 #e4--;,eyebrow before lining4 ,illustration3 ,,fig4 #f4--;,eyebrow after lining4 ,the best plan is to model on a comb the eyebrow according to the shape desired2 then1 placing the latter in position1 make it fast with the use of the adhesia1 taking care that the gum is only on the edges and not on the hair of the real eyebrow4 ,to obtain a sinister expression1 eliminate the outer edges of the eyebrows and paste a piece of crpe hair over the eyebrows near the nose1 the ,mephistophelian effect being gained in the same way1 except that the outer corners should curl upwards 7,figs4 #g and #h74 ,by fixing on pieces of crpe hair so that they meet over the nose1 a stern and even fierce expression is produced4 ,illustration3 ,,fig4 #g4--,natural eyebrow4 ,illustration3 ,,fig4 #h4--,mephistophelian effect produced with crpe hair4 8,,juvenile0 ,,make-,,up ,in making-up for the character of a juvenile1 the strength of light on the platform or stage is to be taken into consideration4 ,if a fairly strong light1 the make-up must not be too deep1 but the player will soon become experienced in this matter by taking the trouble to consider the effect of different lights4 ,before commencing with the grease paints the face is well rubbed with cold cream or cocoa butter1 and wiped with a towel1 so that none of the former remains visible4 ,illustration3 ,,fig4 #i4--,preliminary lining4 ,the flesh-colored paint may now be drawn across the face several times1 the method of procedure being3 two lines across forehead1 two on each cheek1 one down the nose1 and several on the neck 7,fig4 #i74 ,with the palms of the hands this is smoothed over carefully1 and finally rubbed quite lightly with a dry towel4 ,the foundation is thus formed1 and is really the most important part of the make-up1 for if not carefully done the rest will be unsatisfactory4 ,one of the chief facts to be borne in mind is that very little paint should be used1 so little as to be scarcely seen4 ,rouge is next applied1 red-lining paint or paste lip-rouge being used upon the cheek-bones1 and carefully smoothed until it tones with the flesh on the cheeks4 ,after an application of powder1 when the face feels perfectly smooth1 comes the task of lining-in1 which has already been described4 ,illustration3 ,,fig4 #aj4--,natural lips4 ,illustration3 ,,fig4 #aa4--,lips accentuated by rouge4 ,the lip-rouge accentuates the lips 7,figs4 #aj and #aa71 and should it be necessary to make them of a more symmetrical appearance1 this may be accomplished by extending the rouge a trifle beyond the natural outlines1 though women need this little extra touch more often than men4 ,when it is required to make the chin more prominent1 a touch of dry rouge beneath the lower lip will accomplish the effect1 still more being added to the cheeks if they are not quite colored enough 7,fig4 #ab74 ,illustration3 ,,fig4 #ab4--8;,juvenile0 make-up4 ,for juvenile darky parts1 burnt cork will do instead of the grease paints4 8,,middle-,,age0 ,,make-,,up ,this is perhaps the most difficult make-up1 for it is much easier to go to one extreme from another1 than to make a fairly young person look like a middle-aged one 7,fig4 #ac74 ,in the case of a man it is advisable to depend on the addition of whiskers and mustache1 and even glasses or spectacles lend age4 ,a sallow paint is usually required for middle-age make-up1 and it can be blended with a lighter paint for pale effects2 but to produce a hearty bloom or florid complexion1 the application of a little red or brown is recommended4 ,illustration3 ,,fig4 #ac4--8,middle-age0 make-up4 ,illustration3 ,,fig4 #ad4--8,old-age0 make-up4 ,the mid-gray wig is also an immense aid1 but failing this1 a small amount of powder sifted over the hair will give a similar effect4 8,,old-,,age0 ,,make-,,up ,if the character desired to be represented is carefully studied1 notice being taken of where there is a high light and where the shadows of the face lie1 there should be little or no difficulty in producing a lifelike representation4 ,particular notice should be taken of wrinkles and lines1 and these must be carefully blended as in ,fig4 #ad4 ,the next essential is the wig1 either gray or white being the most useful4 ,for the old age complexion it is better to get the grease paint for that purpose2 but when the necessity for it is but seldom1 an application of the sallow paint1 or in the case of great emaciation1 the addition of a little blue1 well blended1 will create quite a good effect4 ,illustration3 ,,fig4 #ae;a4--,natural features4 ,illustration3 ,,fig4 #ae;b4--,putty applications4 ,a4 ,putty addition to forehead4 ,b4 nose4 ,c4 chin4 ,illustration3 ,,fig4 #ae;c4--,finished features4 ,sometimes it is required that the nose shall be made larger2 then the 8nose putty0 is called into play1 carefully modeled on to the nose1 and with the aid of the same grease paint as is utilized for complexion1 made to correspond with the rest of the face 7,figs4 #ae;a1 #ae;b1 and #ae;c74 ,illustration3 ,,fig4 #af4--;,hand made-up for 8old age40 ,dark shadows under the eyes can be produced by gray grease paint1 but for the formation of crow's-feet1 the brown will be found the best4 ,illustration3 ,,fig4 #ag4--;,how to measure for a wig4 ,the hands must receive careful attention when the face and neck are finished1 and 8made-up0 according to character4 ,if juvenile1 they require coloring2 if middle-age1 a little of the sallow paint3 the veins accentuated1 and the flesh made to look pale for old age parts 7,fig4 #af74 ,when measuring for a wig1 take the various lengths and widths as indicated by the numerals in ,fig4 #ag4 ,,beards ,,and ,,mustaches ,the most inexpensive of these necessary adjuncts to the home entertainer's make-up are undoubtedly those he models for himself from crpe hair1 which can be bought in a plait and untwined as it is wanted1 a coarse-toothed comb being passed through it4 ,with a few twirls it can be made the desired shape and cut1 and when wanted for a beard1 opened out until it has a hollow cone-shape appearance1 and placed on the chin after a thin coating of adhesia has been applied4 ,the same method applies to eyebrow and mustache making4 ,when it is desired to create an unshaven1 unkempt effect1 pieces of crpe hair are cut up exceedingly fine on to a newspaper1 the chin covered with adhesia and the finely-cut hair sifted evenly over the skin4 ,these little pieces are also useful for sprinkling where the false beard meets the face1 in order to take away the 8abrupt0 appearance that is often produced4 ,,the ,,removal ,,of ,,make-,,up ,having told how to put on make-up1 a few instructions for its easy removal may not be out of place4 ,whilst soap and water will take off the grease paint1 the simpler method is to remove it with one of the following3 ,cold cream1 cocoa butter1 or olive oil4 ,vaseline is to be avoided1 as it will often cause a growth of hair2 and for this reason when purchasing cold cream it is advisable to procure the best1 for in the cheaper makes vaseline is largely employed4 ,pieces of cloth kept specially for the removal of 8make-up0 are to be recommended1 one for taking the chief layer off and another of soft texture for final rubbing before the much-needed wash is resorted to4 ,for dispelling traces of the prepared burnt cork used for minstrels and negro burlesques1 a pure vegetable soap is all that is required4 ,,chapter ,,iii ,,the ,,quick-,,change ,,artist ,,how ,,it',s ,,done ,,the machinations of the full-fledged quick-change artist afford the mind of his amazed spectator much speculation and curiosity as to how his marvels of dexterity and transformation are achieved4 ,his velocity would put summer lightning to the blush4 ,his mind and body are as pliable and elastic as his face2 his very nature appears to undergo a swift metamorphosis of changes in the adoption of the various manners1 idiosyncrasies1 attitude1 and gait of the character he portrays4 ,although agile and unerring1 he possesses something of the stoic calm of the hedgehog1 and is as natural in his art as when partaking of a beefsteak in privacy4 ,he flashes before the vision on stage or drawing-room platform in dress so immaculate that it would seem to the uninitiated that his toilet is the result of hours of care and deliberation4 ,in the costume of an old-world dandy he struts about1 swaying his long-laced sleeves with exquisite grace over his snuff-box1 the while he patters his part4 ,a moment after1 like a shooting star1 he has swung himself through a door1 reappearing almost instantaneously by means of another entrance1 transformed in wig and attire to a totally different individual in age and character4 ,thus he continues playing his many parts so nimbly that one can scarcely believe he has not a bevy of actors hidden in the wings ready to fly through doors and windows as quickly as a cork pops from a bottle4 ,that his agility is grounded on a studied method1 and his versatile acting the result of wheels within wheels1 well-oiled1 and precise as the mechanism of a clock1 is difficult to believe until his secrets of manipulation are revealed4 8,how is it done80 whispers the youth1 palpitating with aspirations to do likewise4 ,well1 in only one way--that way simplicity itself1 when once practice has made it perfect4 ,i am dealing now with the man who produces a play in which each rle is played by himself1 and will proceed to explain his proceedings from the start1 so that the ambitious amateur may1 at the next ,christmas party or home gathering1 try a humble imitation1 and gradually achieve glory and greatness in the eyes of his family4 ,,an ,,inexpensive 8,,stock ,,in ,,trade0 ,let us study the tools and qualities essential to the quick-change artist4 ,his stock and properties are all inexpensive1 save the wigs4 ,it is not advisable to purchase cheap ones1 as they soon show the signs of wear2 while hair in good condition1 and carefully kept1 lasts for years4 ,his wardrobe contains garments of the cheapest material1 and here the old clothes-bag of the house1 in which articles doomed for a jumble sale are placed1 is invaluable4 ,a clever needle and a little ingenious manipulation result in splendid effects4 ,illustration3 ,,fig4 #a4--;,front view of 8one-piece0 garment2 dotted lines denote springs4 ,illustration3 ,,fig4 #a;a4--,back view of 8one-piece0 garment4 ,every garment is made in one piece1 and fastens at the back of the performer by means of clock springs1 which may be purchased from any clockmaker 7,figs4 #a and #a;a74 ,the springs are pliable bands of steel1 cut and rounded1 according to the size required1 and punched with small holes1 by means of which they are fixed with stitches to neck1 waist1 legs and wrists4 ,these springs should be carefully concealed in the hem1 with sufficient material over to hide the opening at the back4 ,there is no time for fastening of buttons1 tying of strings1 adjusting of pins1 or plastering of gum4 ,even the mustaches used are fixed by means of small silver springs1 which adhere to the interior of the nostrils as firmly as the springs of eyeglasses pinch the top of the nose 7,fig4 #b74 ,illustration3 ,,fig4 #b4--;,back and front view of mustache fixed by spring4 ,the scenery required is also easily manufactured at home by the amateur carpenter4 ,thick brown paper1 light wooden frames1 or1 better still1 samples of wallpaper1 fixed with small brass hinges1 will serve excellently as an interior4 ,until the student is far advanced in dexterity1 it is wisest to limit his production to one environment4 ,the first thing1 of course1 is to choose a suitable piece4 ,if you are clever with your pen1 you may compose a sketch to please yourself4 ,this is a good plan1 for you will be governed in your production by what is most suitable and easy to your limitations4 ,if1 however1 no suitable idea presents itself to you1 go to any good dramatic firm1 and spend a morning in looking through plays until you alight on something answering to your purpose4 ,in choosing a play1 avoid an elaborate cast1 complicated plot1 or speeches4 ,long monologues are wearisome and monotonous2 while1 on the other hand1 conversations of too rapid a character will be impossible to manage satisfactorily1 however skillful your manipulation4 ,the novice should begin with a curtain raiser1 containing two or three persons1 and the movement should be brisk and interesting4 ,having fixed on his play1 he studies his scenery4 ,he must have sufficient entrances and exits4 ,to use only one1 so that the audience always knows through which door he is about to appear1 spoils the effect of his cunning4 ,it is far more dramatic to burst upon them from a direction least expected1 and1 to do this successfully1 as many doors or windows are necessary1 as in a production played by several persons2 but these should not be so placed as to be aggressively prominent1--curtains1 palms1 screens1 a sham cupboard or fireplace1 by means of which sudden comings and goings lend a thrilling reality to every movement4 ,fig4 #c depicts a suggested plan4 ,the different costumes to be used should be numbered in the order required1 and this is where a cool-headed and reliable dresser is absolutely essential4 ,illustration3 ,,fig4 #c4--,suggested plan of scenery arrangement for the quick-change artist4 ,to robe oneself by means of picking up garments and wigs from chair or different pegs is slow work1 and leaves the stage empty for too long a time to keep the spectators interested in one's movements4 ,the swiftest manipulation will be too slow to those awaiting the re-appearance1 and1 unless the movement is kept jogging1 there will be no semblance of reality in the performance4 ,,the ,,dresser ,the dresser plays a part no less important than the artist4 ,upon leaving the stage the latter immediately wrenches from his person the garment in which he has just appeared4 ,the dresser is close to the exit with costume ,no4 #b held out widely4 ,the performer walks straight into the clothes1 of which the clock springs are widely expanded4 ,in a flash they close round his person4 ,another dresser adjusts wig1 beard1 c41 as he passes to his next entrance 7,fig4 #d71 with the result that he appears to answer the remark made by himself in the character ,no4 #a without any break being perceptible to the audience4 ,whilst speaking the words in the rle of ,no4 #b1 the dresser is awaiting him at the next exit with ,no4 #c or ,no4 #a clothes1 7if ,no4 #a and #b are having a conversation71 which he has swiftly picked up from the floor when discarded4 ,it is obvious that in order to be of real service the dresser must be as familiar with the words of the play as the performer4 ,it is not enough only to know the cues4 ,he must1 by his knowledge1 calculate to a hairbreadth how long ,no4 #b takes to reply1 and be prepared upon the instant of exit with the apparel of ,no4 #a4 ,illustration3 ,,fig4 #d4--,system of 8changing0 behind the scenes4 ,a plan of modes of entrances and exits should be arranged beforehand between actor and dresser1 and never altered4 ,each sketch must be founded on a different plan1 and in each the movements should be so carefully practiced that they become almost a habit4 ,any chance alteration or mistake leads to bungling and loss of time1 for1 if ,no4 #a disappears through the exit fixed upon for ,no4 #b1 naturally the dresser will not be there awaiting him1 and this mischance will probably throw all the succeeding movements into confusion4 ,the quick-change artist is employed in a race with time1 and1 time being swift and fleet of foot1 the human competitor cannot possibly afford to loiter or blunder4 ,in a play or sketch in which several characters are to be impersonated it does not make for speed to have installed as many dressers behind the scenes4 ,one1 or at the most1 two reliable and experienced assistants are ample4 ,a larger number will only hinder the artist's and their own movements4 ,that there is a certain amount of nervous strain about this mode of performance cannot be denied1 but1 by constant practice and coolness1 the artist greatly facilitates the mental effort that accompanies his portrayals4 ,a sketch should at most be of a half-hour's duration4 ,the actor needs some knowledge of acting1 and must be able to change his voice to the different pitches required4 ,it should range from the high-pitched falsetto of the aggressive female type of uncertain years to the gruff bass of the dogmatic father1 while the cooing notes of the immaculate heroine should be carefully cultivated4 ,illustration3 ,,fig4 #e4--,showing wig1 eyebrow1 nose1 and mustache combined4 ,illustration3 ,,fig4 #f4--;,another example1 showing bonnet1 wig1 nose1 spectacles1 and veil combined4 ,the artist must of necessity be clean-shaven1 so that he can adapt beard1 8mutton chops10 or mustache as required4 ,figs4 #e and #f show completed examples of one-piece transformations4 ,fig4 #g depicts coat and breeches combined4 ,most important of all the quick-change artist must be self-reliant1 self-confident1 and absolute master of emotions engendered by nervousness1 for these lead to loss of memory where words and modes of entrance and exit are concerned4 ,while on the stage his mind must be concentrated on the part he is playing to the exclusion of everything else1 his attention as completely focused upon the impersonation as though the other characters were being undertaken by different individuals4 ,for many of these practical suggestions the writer is indebted to a versatile quick-change artist1 who willingly revealed some of the secrets connected with his favorite form of entertainment4 ,he emphasized the fact that success is not achieved by means of numerous wigs and costumes--a performer may possess the most elaborate wardrobe1 repertoire1 and paraphernalia1 and yet sadly fail to move the interest and sympathy of his spectators4 ,as this artist remarked1 the true art lies in facial expression1 gesture1 attitude1 and change of voice4 ,these must be cultivated assiduously before any one-man play is produced1 for it is only when the features are plastic as rubber1 gesture and attitude the perfection of mimicry1 the voice containing every note in the range in which language is expressed1 that the steep ladder of success is scaled1 and the timid novice becomes transformed into the popular resourceful artist4 ,illustration3 ,,fig4 #g4--;,breeches and boots1 showing front and back views2 dotted lines indicate springs4 ,,chapter ,,iv ,,character ,,impersonations ,,talent v4 ,,material ,,aids ,a ,,very popular means of amusing a house-party is the impersonation of various characters4 ,it is an entertainment more suitable to the limits of a drawing-room than tableaux or amateur theatricals1 which of necessity entail a certain amount of expense1 scenery1 lighting1 and much labor and anxiety in securing and drilling an efficient cast4 ,although it is doubtless true that this art needs some natural talent1 skill1 and mastery of detail1 much can be done by practice and self-reliance4 ,a clever man in the street amuses a long line of patient theater-goers1 his only paraphernalia being a soft1 pliable disc of black felt4 ,the metamorphosis that article undergoes in his hands is a marvel4 ,dexterously he wields it--a mere twist1 and it is the three-cornered biretta of a cardinal4 ,another1 and it shades the villainous glare of a brigand1 who appears quite capable of cutting the throats of his audience4 ,a deft touch and a strut1 and it tops the head of a swaggering dandy4 ,next it shades the solemn1 ascetic features of the priest4 ,tipped to a different angle1 and the cockney grins with happy-go-lucky impertinence4 ,thus it is used to represent every grade of society from the highest to the lowest of humanity4 ,but miraculous as that piece of felt seems1 it is really the eyes and gestures of the artist plying it that lend it personality1 power1 and magic of transformation4 ,in the hands of one ignorant of the tricks1 it is a futile and clumsy piece of mechanism4 ,a man may put a tea-cosy on his head and look absurd2 another does the same1 and behold6--a living ,napoleon stands before us4 ,the greater the artist1 the simpler the preparations used1 for the skilled representative trusts to eyes1 gesture1 and figure rather than to the material used4 ,elasticity of feature is essential4 ,without this it is impossible to produce a living likeness4 ,one may possess wigs1 beards1 eyebrows1 sham noses1 and skulls of every imaginable shape and size1 and yet fail through inability to assume the expression peculiar to the study undertaken4 ,in rehearsing impersonations a mirror is as good and true a friend as in reciting4 ,observe how faithfully it reflects every change in the human countenance4 ,supposing the character studied to be that of ,king ,lear4 ,first read your ,shakespeare and memorize the lines which reach the very crisis of the agony and woe of love of that unfortunate monarch1 as when1 turning to his ungrateful1 malignant daughters1 ,regan and ,goneril1 he cries-- 8,i will do such things1-- ,what they are yet ,i know not1444 but they shall be ,the terrors of the earth4 ,you think ,i'll weep2 ,no1 ,i'll not weep3 ,i have full cause for weeping1 but this heart ,shall break into a hundred thousand flaws ,or ere ,i'll weep4 ,o fool6 ,i shall go mad60 ,understand the breaking1 raging1 heart-throbbing beneath them4 ,repeat them aloud before the glass1 with wild1 burning eyes and quivering lips1 with shaking hands upthrown and tensely up-drawn figure1 and by-and-by1 if not at once1 you will see ,king ,lear peering at you distraught4 ,when you have thoroughly gripped that image you may crown it with snowy hair1 pent brows1 and ragged beard--but not till then4 ,and now1 supposing1 for a change--for there is nothing like variety--you undertake so utterly different a character as that of his faithful fool4 ,here no jingling bells and jester's folly are needed to aid you1 for these may be1 and frequently are1 but the danger signals to discerning eyes of incompetent treatment2 you want his shrewd1 loyal heart in your breast1 his pulse beating in your brain1 your finger-tips4 ,his cunning grin must be a wavering crack in a wizened face as you memorize such caustic saws as-- 8,thou hast pared thy wit o' both sides1 and left nothing i' the middle2 here comes one o' the parings40 ,this method of memorizing and voicing some sentiment characteristic of the figure presented1 is only for private use during rehearsals4 ,costume performances are dumb1 and1 this being the case1 it is easy to realize how eloquent and exact the physical contour must be for faithful similitude4 ,regard the idea as an object being photographed4 ,when you have gripped it1 and1 as it were1 posed it before the camera of your brain1 focus1 produce1 and develop it on your features1 which may well be likened to a film4 ,,knowledge ,,from ,,nature ,in order to master the idiosyncrasies1 mannerisms1 eccentricities1 and habits of characters1 study is essential1 and for this reason it is probably best to acquire knowledge1 not from imaginary heroes of fiction or drama1 but from the fount of ,nature4 ,popular statesmen1 musicians1 admirals1 soldiers1 prelates1 scientists1 novelists1 and famous actors walk our streets to-day1 and each possesses some anomaly of expression1 feature1 speech1 gesture1 or mannerism which is distinctly his own1 and distinguishes him from his kind4 ,just as no two leaves of a tree or petals of a flower are exact duplicates1 so in mankind--no matter how subtle the anomaly--it exists1 and must be fathomed and included in the portrait2 delicately if it is delicate1 proportionately broadly and ostentatiously as it is broad and ostentatious4 ,for example1 there are some persons whose peculiarities are as evasive and subtle as the bouquet of a wine1 the bloom of a grape4 ,we feel their influence1 we realize them to be the essence of their individuality1 and yet we fail to catch and master them2 while there are other persons we meet whose eccentricities flare out at us in a moment1 and illuminate a character more fully and faithfully than any words4 ,the pouting lip1 the flickering eyelid1 the shrug1 the drumming on the table with the fingers1 the stroking of nose or chin1 the revolving of thumbs1 the pushing or patting of the hair1 are eloquent signs that he who runs may read1 and make his own4 ,these may be called ostentatious mannerisms4 ,the subtle peculiarities are far more difficult to catch and convey faithfully4 ,one man suddenly narrows his eyes and looks introspectively at you1 or the mouth clinches unexpectedly over the teeth without any apparent reason4 ,a pulse suddenly quivers into sight at the temples1 and is gone again4 ,the expression falls into repose1 but that very stillness indicates a perplexing and evasive expression of temperament and individuality that you cannot catch to your own satisfaction4 ,you may note coloring of hair1 beard1 mustache1 c4 ,you may purchase their exact match1 and find the likeness only a shell1 because the essence that lends delicate fragrance and character has escaped you1 and without it your representation1 however flawless in coloring and texture1 is as unsatisfactory and unreal as the marble statue to the human face and form4 ,fundamental to the successful rendition of character impersonation is the cultivation of dexterity and quickness4 ,the dumb representative must have all his regalia of wigs1 beards1 eyebrows1 hats1 helmets1 cloaks1 c41 well arranged1 and within easy reach4 ,in a sense he is a conjuror--a magician4 ,his movements must be swift as lightning4 ,indecision creates a jar2 a pause or bungling spells failure4 ,a small velvet-draped stand or table placed behind him1 and within easy reach1 with each article ready in the order wished1 is essential4 ,in the center of this should be a mirror1 with a good electric light over it1 but shaded as much as possible from the audience 7,fig4 #a74 ,illustration3 ,,fig4 #a4--;,character impersonator's stage table4 ,the stand must be draped in dark colors1 so as to obtrude as little as possible on the audience4 ,while in preparation1 all other lights near you should be turned off1 and only switched on for a moment or two the instant you are ready4 ,the attitude should be struck in the dark1 and this must be sure and swiftly taken1 and absolutely in keeping with the character assumed4 ,avoid grease paints as far as possible4 ,a pianoforte or small orchestra playing some melody suitable to the impersonation will prove a most valuable adjunct to the imagination of artist and audience4 ,avoid such hackneyed characters as ,napoleon1 the late ,sir ,henry ,irving1 the ,german ,emperor1 and similar portrayals that may be witnessed any evening at almost any vaudeville hall4 ,an audience is frequently more amused by the imitation of types than of individuals4 ,illustration3 ,,fig4 #b4--,the costermonger4 ,illustration3 ,,fig4 #c4--,the lady-killing curate4 ,the fat saloonkeeper1 the costermonger 7,fig4 #b71 the blas gentleman of fashion1 the racetrack bookmaker1 the ruddy countryman1 the lady-killing curate 7,fig4 #c71 and the typical ,soap ,king 7,fig4 #d71 the country rustic 7,fig4 #e71 and many other such types are excellent studies for representation4 ,illustration3 ,,fig4 #d4--,the soap king4 ,illustration3 ,,fig4 #e4--,the country bumpkin4 ,although the character portrayals of the costumed and wigged impersonator depend on wordless demonstrations between the items and in ordinary evening dress1 the artist may announce the name of the personality to be represented1 or have it worked in almanac fashion and shown to the audience as it appears4 ,the former method1 however1 is quite usual1 and perhaps more suitable to drawing-room entertainments4 ,it may be kept in mind that this style of performance should not be unduly long1 and should never exceed twelve or fifteen minutes4 ,,speaking ,,impersonations ,speaking impersonations are more difficult to achieve successfully1 for in them1 as a rule1 the artist has no regalia to depend upon4 ,his hair1 his face1 his voice1 his limbs1 his fingers are his only aids1 but these are more than sufficient for the talented and skilled performer4 ,his voice is as elastic as his features in power of mimicry4 ,he should be clean-shaven1 but with a plentiful crop of hair1 which he can arrange and manipulate as he wishes with a mere twirl or pat of the hand1 and these must be sympathetic and convincing expressions of his every movement4 8,there is no more expression in the back of the hand than in the back of the head10 yet of what subtle demonstrations is it not capable8 ,a whole epitome of human emotions may be demonstrated by the gradual unfolding of the flexible1 sensitive fingers4 ,the first finger raised1 and intelligence and meaning begin to develop4 ,the palms upturned1 the shoulders uplifted1 and the head slightly bent1 and you see the suave helplessness typical of the ,frenchman4 ,the arms flung outward1 with the palms parallel1 and the fingers falling naturally1 indicate sentiments of affection1 welcome1 and cordial invitation4 ,stretched farther away1 with fingers distended1 and you have entreaty1 desire1 passionate pleading1 and supplication4 ,the wrists upturned1 the fingers crooked1 and grasping1 and we see the personification of rage and avarice1 while the raising of the open hand1 what horror it indicates6 ,yet the hand is only a part of the mechanism4 ,its soul is in the eye1 which combines in partnership and signifies calm1 candor1 liberality1 love1 gentleness1 meditation1 resentment1 boldness1 defiance1 wrath1 and fear1 in complete accord with its dumb component4 ,the nostrils inflate in scorn1 the head is proudly raised in dignity or joy1 and meekly bowed in humility2 bent forward in shame1 squarely upright1 with firm compressed features1 for determination and will power4 ,the artist must never be tempted to sacrifice his cultured discretion in a portrayal4 ,for instance1 to give the cockney the musician's hand1 or the priest the bookmaker's wink1 the sly housebreaker anxious to escape notice the loud1 boisterous guffaw of the countryman1 is to be guilty of the most insensate blunders4 ,action and gesture should be skilled and practiced handmaidens to the brain that molds the idea1 and their service must be winged to respond4 8,true ease in action comes from art1 not chance1 ,as they move easiest who have learnt to dance40 ,,temperament ,the psychological treatment of characters depends and is influenced in no slight degree by temperament4 ,the character the student is about to study has its peculiar atmosphere of mind and body1 which unconsciously dictates and regulates its actions from head to foot4 ,the most important temperaments are3-- #a4 ,the optimistic temperament1 embracing impulsive1 warm-hearted1 sanguine1 easily-pleased1 tender1 ambitious dispositions4 #b4 ,the pessimistic temperament1 embracing nervous1 timid1 sensitive1 overwrought1 peevish1 unstable1 irritable1 depressed1 neurotic1 restless1 dissatisfied1 cynical1 morbid1 self-conscious dispositions4 #c4 ,the artistic temperament1 embracing extravagant1 sympathetic1 imaginative1 languid1 reckless1 turbulent1 excitable1 hot-tempered1 brooding dispositions4 #d4 ,the commercial temperament1 which embraces the phlegmatic1 lymphatic1 enigmatic dispositions4 ,now1 the first way of approaching a new study is to consider what characteristics it possesses1 and to what class of temperament it belongs1 and1 when this is decided1 the student asks himself1 what gesture will be the most symbolic and eloquent of that temperament8 ,this method1 conscientiously adhered to1 will provide a safe and firm groundwork for the beginner4 ,with judgment and sense1 he will soon be able to place his character in its right niche1 and to plan his actions in accordance1 even if he has never seriously studied gesture4 ,the movements of an open-hearted1 liberal man are usually large1 free1 and liberal4 ,he opens his arms widely for an embrace4 ,he gives you his hand in greeting warmly1 and with frank1 cordial pressure4 ,his eyes shine clear and steady below a benevolent forehead4 ,his walk1 with its free1 steady swing1 is the index of his generous and kindly disposition4 ,now contrast him with the mean man1 the usual type of which is pinched in physical delineation1 action1 expression1 and thought4 ,his hair grows sparsely on a skull1 screwed as grimly to his face as the upper section of a bicycle bell to the lower4 ,his eye is squeezed in a narrow slit of socket1 roves backwards and forwards like a marble in a puzzle-box4 ,his mouth is withered in bitter antagonism for his fellow-men4 ,to catch a generous smile upon his colorless lips is to surprise a sunbeam at midnight4 ,of course1 there are many shades in the scale between these extremes of the very liberal man and the very mean one1 and the artist who is imitating the thrifty soul must remember the infinitesimal points of difference which distinguish him alike from the benevolent and avaricious4 ,and1 in the wide margin of temperaments1 an artist must be careful not to label and pigeon-hole his characters as if they were bottles of physic1 for in the complex nature of one man there may be vast contradictions1 just as in many good medicines there is a minute quantity of poison1 so a disposition may be tinted with qualities not at all worthy of admiration4 ,there are occasions when the most impulsive becomes cold and hesitating1 the most affectionate cruel1 the most benevolent calculating1 and the most patient1 hot-tempered and passionate4 ,,character ,,and ,,circumstance ,the artist must never forget the important crucible of circumstances which molds and forms each character1 and sometimes is potent to change the most optimistic temperament to one of pessimism and cynical bitterness4 ,yet1 while remembering this1 one must probe beneath the stamped envelope of environment to decipher the hieroglyphics of the fettered soul inclosed4 ,one does not find the wild1 untutored gestures of the stump orator in the refined politician1 nor the turbulent raving of the fanatic in the sermon of the cultured ecclesiastic1 while the expression natural to the plebeian is such as the aristocrat never indulges4 ,there are many natures so complex as to defy all classification1 and to portray them successfully is an almost impossible matter unless one masters the delicate mechanism of their nature4 ,a grandfather's clock to outward appearance is a figured circle in a narrow wooden case1 with softly regularly-moving pendulum1 but get behind that exterior to the revolving wheels1 and see what an amount of intricacies are involved4 ,so the man who presents a calm1 self-possessed exterior to the world1 may in reality seethe with qualities not at all phlegmatic or level-headed4 ,in conquering the technicalities of character1 one must1 as far as possible1 grip the crisis the personality has reached in his lifetime1 and this is one reason why a historic character is easier to grasp than one contemporaneous4 ,for example1 he who portrays ,napoleon in the flush of success and victory1 does not represent him as he who images him at the end of his career--broken-hearted1 alone1 and in despair1 suffering the calumny and scorn of those who exhibited most faith and admiration of his sanguinary achievements4 ,correct attitude and pose are extremely important1 and should be carefully studied4 ,the old man has tottering bowed knees1 but the youth stands firmly4 ,the reverberation of the interior gestures rules and gives to the torso or trunk the inspiring grace of truth and beauty4 ,it is only when a soldier or sailor on duty is being represented that the artist may stand bolt upright and move automatically4 ,at all other times the torso should be held with flexible ease1 ready to combine with eye1 face and gesture1 in the emotion and force of the impersonation4 ,to portray the child with mature and abandoned gesture is to present a caricature of nature1 and1 in like manner1 to represent the adult with the careless gestures of the child1 is to convey the impression of one inane and undeveloped4 ,in attitude1 remember the maxim of ,cresollius3 8,without the hand1 no eloquence40 ,to imagine a boy stealing jam with the wild eye and hand-clawing attitude of the miser snatching at gold is to exaggerate grossly and confuse the human emotions1 and to paint comedy as the burlesque of tragedy4 ,the hands are capable of such a vast amount of expression that they have been considered 8numerous and copious as words themselves40 ,while imitating characters1 never be bound by the representations of other artists you have seen4 ,see with your own eyes1 study with your own brain1 avoid that conventionality of fashion and ideas that cripples progress4 ,let your maxims be your own1 and1 when they are mastered1 be not ashamed to demonstrate them with grand and self-reliant originality4 ,,chapter ,v ,,the ,,universal ,,hat ,,marvels ,,of ,,chapeaugraphy ,,every entertainer must have felt at some time or other the need of a short 8gag0 to fill up that awkward gap which so frequently occurs between the conclusion of one long piece and the commencement of another4 ,the mind of an audience is of a flighty nature and requires to be kept continually amused1 or it will wander into paths of boredom2 and many a good entertainment has failed for the simple reason that the ball has not been kept rolling4 ,it is during one of these uncomfortable pauses that the ,universal ,hat may be appropriately introduced1 and1 if worked well1 it cannot fail to gain approval4 ,you can either buy or make a ,universal ,hat1 and as to do the former will cost a dollar or more1 whilst the latter can be done for less than half that sum1 it is well to be your own hat-maker4 ,obtain a piece of fairly strong black felt1 measuring #bd inches square1 and cut it into a ring1 the diameter of the whole circle being #bd inches1 with a hole in the center #g inches across4 ,that is all that is required as far as the hat is concerned1 and the success of your piece will now rest entirely with yourself4 ,arrange a screen behind which to retire1 and have a good-sized mirror1 so placed that you will be able to see in a moment how your head-dress suits4 ,keep a little rouge ready1 as well as a burnt cork for blacking eyebrows1 making mustaches1 c4 ,remember that quickness is a necessity1 for the smarter you are in changing your hats the more the audience will appreciate the effect4 ,now to give a few examples of what can be done with the universal hat1 so arranged as to give scope for any amount of ingenuity in inventing new ideas4 ,before beginning your show step from behind the screen1 raise the ring of felt in your hand1 and exhibit it to the audience4 ,then step back under cover1 put the hat on your head1 giving it a tilt in front and a rakish tip to one side1 assume a stern expression1 and1 if you have a dog-whip amongst the stage properties1 grasp it firmly in your hand1 and make an appearance before the spectators in the character of ,buffalo ,bill4 ,take care always to face the audience as in ,fig4 #a1 otherwise the top of your head will be seen through the hole in the hat4 ,illustration3 ,,fig4 #a4--;,buffalo ,bill4 ,remember that in this1 as in all the other characters1 a lot--indeed1 almost everything--depends upon your expression1 which should be entirely in keeping with the person you represent4 ,buffalo ,bill must not wear a grin1 but must appear as grimly in earnest as though he were hastening to the relief of the ,deadwood stage4 ,another point to bear in mind1 is that you must not make a long appearance4 ,a minute for each character is ample1 and1 as you appear before your audience1 announce who you are in a tone suggestive of the person you are representing4 ,a few remarks in keeping with the character will greatly add to the realism of your make-up1 but let your words be like your appearances--brief and effective4 ,,popular ,,characters ,napoleon makes a good character to represent1 and his hat is very easily made4 ,draw two sides of the felt through the hole in the center1 and pull the hat firmly down about your ears1 as in ,fig4 #b4 ,assume a stern expression1 suggestive of ,waterloo1 thrust your left hand into your breast1 hump your shoulders1 and look fiercely at the audience as though you could see ,wellington at the farther end of the room4 ,later on in the performance you can represent ,bonaparte's great antagonist by making the hat in the same way1 but wearing it with the peak forward as in ,fig4 #c4 ,illustration3 ,,fig4 #b4--;,a hat suggesting ,napoleon4 ,illustration3 ,,fig4 #c4--,the ,iron ,duke4 ,general ,wolfe is another easy character to assume4 ,his hat is made in this way4 ,lay the felt ring flat on the table1 lift up one side1 draw it towards you and then pass it downwards through the hole4 ,pull back the piece that you have passed through the hole1 in the direction from which you took it in the first place1 and you will find it has made a hat of the shape shown in ,fig4 #d4 ,when you fit it on your head pull it firmly down towards your ears1 but not too tightly1 and the effect will be complete4 ,a little practice will serve to perfect you in making the twists necessary for this and other hats1 and patience will soon reward you4 ,to heighten the resemblance to ,general ,wolfe1 whiten your cheeks with a little chalk and draw them slightly in1 to give the appearance of being haggard and wan4 ,if you can get a sword1 point to the ceiling with it enthusiastically1 as one can imagine the ,general did when he encouraged his men to climb the ,heights of ,abraham4 ,as a contrast to these more exalted personages1 you can now appear as the coal driver2 although if you wish to increase the realism by smearing your face into a state of suitable dirtiness with burnt cork1 it would be advisable to leave this character to the last4 ,to make the hat1 lay your felt flat as before and draw up a piece from the rim as was done in the case of ,general ,wolfe4 ,now1 instead of passing it completely through the hole1 push it only halfway through1 giving it what may be called a half twist4 ,it will then appear as in ,fig4 #e1 ready for wear4 ,draw it tightly over your head1 and slouch upon the scene1 putting your hand to your mouth and shrieking 8,coal ,o60 in a cracked voice4 ,illustration3 ,,fig4 #d4--;,general ,wolfe4 ,illustration3 ,,fig4 #e4--,the ,coal ,driver4 ,illustration3 ,,fig4 #f4--;,a ,priest's ,biretta4 ,illustration3 ,,fig4 #f;a4--,a ,priest4 ,you may now appear as a priest in a biretta4 ,place the felt upon the table and then draw a side from below1 up through the hole1 exactly the reverse way from that in which ,wolfe's hat was made4 ,when you have drawn it right through1 bend it down and pass it up through the hole once more1 thus making two twists4 ,it then resembles ,fig4 #f1 and if you draw it upon your head with the broad brim flush against the forehead1 the impersonation will be striking4 ,tuck a little lapel of white into the collar1 raise your right hand with two fingers extended1 and face the company with as pious an expression as you can assume4 ,illustration3 ,,fig4 #g4--,the ,pied ,piper4 ,as a last example1 an effective appearance may be made as the famous ,pied ,piper of ,hamelin4 ,having laid the felt flat1 make a twist from below upwards1 as you did in the former hat--the priest's biretta4 ,but for this hat only one twist is required1 so when you have done this1 the hat will appear as in ,fig4 #g4 ,you must now put your hands in the opening and stretch it as wide as possible1 thus making the rolls very taut and firm4 ,turn the felt over and fit it on the head as shown in the picture4 ,draw your collar up1 take a tin whistle in your hand1 and pipe a few notes before making your appearance4 ,then slink into view with a cunning smile upon your lips1 reciting these lines from the poem3-- 8,please your honors1 ,i am able ,by means of a secret charm to draw ,all creatures living beneath the sun1 ,that creep or swim1 or fly or run1 ,after me so as you never saw6 ,and ,i chiefly use my charm ,on creatures that do people harm1 ,the mole1 the toad and newt and viper2 ,and people call me the ,pied ,piper40 ,of course these are but hints4 ,an ingenious person will soon discover endless other ways of adapting the ,universal ,hat in such a manner as to keep the audience amused for some considerable time4 ,always remember1 however1 these two axioms-- ,let your make-up be done quickly4 ,let your appearances be short4 ,,chapter ,,vi ,,nigger ,,minstrelsy ,,the ,,comical ,,end-,,men ,,some people imagine that a black face1 a pair of large check trousers and a rather dilapidated hat1 are all that's necessary to make a nigger minstrel4 ,this is1 however1 a great mistake1 and whosoever feels the stirring of an ambition to amuse his friends with a nigger entertainment1 must not be discouraged if he finds the road harder than he expected4 ,its difficulties1 however1 are far from insurmountable4 ,illustration3 ,,fig4 #a4--,seating arrangements of nigger minstrel troupe4 ,for a really successful nigger entertainment seven persons are necessary2 the interlocutor--usually known as ,mr4 ,johnson--one bass and one tenor singer and four 8end-men40 ,the troupe should be arranged as shown in ,fig4 #a4 ,now1 before describing what to do1 a few words as to how you should arrange yourselves will not be out of place4 ,the stage should be raised1 if possible1 to enable any member of the audience to see the performers4 ,unless you are performing a farce or drama1 such as will be described later1 a curtain is not absolutely necessary1 provided the troupe can get to the stage without having to pass right through the assembled company4 ,,minstrels' 8,,make-,,up0 ,as far as 8make-up0 is concerned1 this should present no difficulty whatever4 ,many barbers1 and some music shops1 can supply 8nigger black10 which must be rubbed into the face and hands1 after the skin has been well washed and dried4 ,when the performance is over the black can easily be removed by means of soap and hot water4 ,to redden the lips and enlarge the mouth1 use carmine or rouge2 cover the lips and paint them to appear as though stretching almost from ear to ear 7,fig4 #b74 ,cheap wigs can be obtained for but a small sum from any hairdresser4 ,those of ,mr4 ,johnson and the sentimentalists should be as shown in ,fig4 #c1 while each of the 8end-men0 should provide himself with one similar to that depicted in ,fig4 #d4 ,the 8interlocutor0 and sentimentalists usually wear ordinary evening dress1 the 8end-men10 however1 wearing frilled collars1 cuffs and fronts1 as shown in ,fig4 #e4 ,a complete outfit comprising stockinette face1 head1 eyes1 teeth1 and hat can be purchased for about #b4ej4 ,illustration3 ,,fig4 #b4--,showing how the lips are painted4 ,illustration3 ,,fig4 #c4--;,interlocutor and sentimentalist's wig4 ,illustration3 ,,fig4 #d4--;,end-man's wig1 showing workable tuft4 ,music is a necessity with a troupe1 and you will accordingly require another person to play the piano as an accompaniment to the songs and choruses1 as well as for the overture and instrumental pieces4 ,it is also presumed that the members of the troupe have fairly good voices and are able to sing1 not only in tune but in time with one another4 ,in serious or sentimental songs1 such as 8,swanee ,river0 and other favorites1 the 8end-men0 must forego their love of mirth and take part in all solemnity1 reserving their facetious behavior for a more timely moment4 ,after these remarks the principal characters in the troupe may be discussed4 ,illustration3 ,,fig4 #e4--;,frilled collar1 shirt front1 and cuffs used by end-man4 ,the interlocutor is one of the most important persons upon the stage4 ,it is his duty to introduce each number of the programme to the audience2 to be the butt of the 8end-men's0 jokes2 and to assume upon every occasion an air of the utmost ignorance and simplicity1 that shall prove an admirable foil to the exuberant humor of his companions4 ,he must appear absolutely innocent of any idea of the answers to the riddles and conundrums asked1 and must reply to the occasionally personal remarks of his friends with the utmost suavity and good humor4 ,in short1 what with helping the others to sing and keeping the ball rolling generally1 ,mr4 ,johnson is responsible1 to a large extent1 for the success or failure of the entertainment4 ,,from ,,failure ,,to ,,success ,the 8end-men10 with whom lies the task of producing most of the fun of the nigger entertainment1 must be possessed of a ready wit--able to tide over awkward pauses1 prepared with some 8gag0 when the fun is beginning to flag1 and capable of turning disaster into a mighty success4 ,from ,mr4 ,johnson's placid obtuseness they will be able to draw much sport1 and bandying jokes at each other's and the interlocutor's expense1 should keep the audience shaking with laughter4 ,whilst on the subject of jokes a note of warning may be struck4 ,the moment humor changes to vulgarity1 it produces disgust in any respectable audience4 ,it is therefore well worth while to think over the regular jokes you intend introducing into the performance1 and if there be any that are in the remotest way likely to offend the feelings of any person in the company1 cut them out4 ,there is another point worth remembering in the matter of jokes4 ,it may seem a truism to remark that a joke should be funny1 yet the very funniest of jokes will fall flat if it is not led up to suitably4 ,don't ask ,mr4 ,johnson a conundrum in a meek tone as though you were requesting him to tell you the time4 ,his immovably suave ignorance will extract the answer from you1 it is true1 but the chances are ten to one that the audience have either missed the question or will fail to see the point of the answer4 ,jokes should be introduced by a certain amount of patter which serves to engage the attention of the hearers in such a way that when the inevitable fun really comes they are perfectly prepared to appreciate it4 ,books can be bought containing numbers of these jokes with the suitable patter1 and these will prove very useful to the amateur1 who must nevertheless remember that success really depends upon the way in which he springs the joke upon the audience4 ,,coon ,,songs ,and now a word about the singing4 ,it goes without saying that the larger the troupe and the better trained the voices1 so much the more enjoyable will be the choruses4 ,the number of songs from which to select is legion2 the best plan is to write to some leading musical publisher1 telling him what you want4 ,he will be only too pleased to send his catalogue with some advice as to what will prove suitable4 ,avoid any comic songs with a double or doubtful meaning1 and keep to strictly characteristic songs as far as possible4 ,old favorites never fail to win applause1 and are always safe to fall back upon2 but do not be too conservative--try some novelties4 ,,songs ,,and 8,,gags0 ,nigger entertainments are usually divided into two parts1 the first consisting of songs and 8gags10 as the short dialogues and impromptu jokes are called1 whilst the second is devoted to stump speeches and one-act dramas or farces4 ,so far as stump speeches are concerned1 excellent collections are published by the leading publishers of that class of entertainment4 ,your bookseller will obtain a catalogue for you1 and a choice can then be made4 ,the speeches should be very carefully learnt by heart1 together with the appropriate gestures 7for which full instructions are always given71 and unceasingly practiced until you are able to make your stump oratory bring down the house with delight4 ,stump speeches are the province of the 8end-men10 and properly delivered1 can be relied upon to prove one of the successes of the evening4 ,,one-,,act ,,dramas ,with regard to one-act dramas and farces1 a very exhaustive catalogue can be furnished by publishers1 with full instructions as to how they should be performed4 ,a word of advice1 however1 to the intending actors4 ,too much care cannot be expended upon preparation and rehearsals4 ,nothing will go of itself in this world1 and least of all plays and sketches2 it is a fatal mistake to imagine that the smallest drama or even 8gag0 will succeed by its own merits and with only a little help from yourself4 ,endless trouble and care must be taken in preparing the simplest joke1 and boisterous as the fun may prove upon the stage1 it cannot be spontaneous1 but must be diligently rehearsed again and again before it can be presented to your audience4 ,your great object is1 not to enjoy the fun yourself but to make the others enjoy it1 and if this is borne in mind1 you will not only amuse them but have a delightful time yourself4 ,again1 never forget that in a play one actor relies upon another to repeat the actual words of the 8book10 as cues and stage directions depend upon verbal accuracy4 ,do not1 therefore1 introduce any novelties of your own--learn the words and keep to them1 for any original introductions on your part may throw the whole play into disorder1 exasperate the other actors and disgust the audience4 ,to keep to the 8book0 is easy enough1 and if you act in earnest--and this is essential for the most comic pieces--you will find no difficulty in sustaining your part correctly and intelligently4 ,do not laugh at your own jokes1 unless you are instructed to do so1 but keep a grave face and appear as though to find yourself in the most farcical situations were a matter of everyday life4 ,to give an idea of a reasonably simple programme which shall include a farce1 the following is suggested3-- ,,part ,i ,overture on the piano4 ,a march4 ,chorus4 ,some song in which all voices can join4 ,solo4 ,preferably a sentimental song4 ,jokes4 ,properly led up to by an end-man4 ,comic ,song4 ,also by an end-man4 ,solo4 ,another sentimental song4 ,and so on for ten or eleven turns1 after which comes the ,interval4 ,during this the pianist can entertain the audience with some operatic piece4 ,,part ,,ii ,chorus4 ,as above4 ,piano ,solo4 ,whilst this is being played the stage should be prepared for the ,stump ,speech4 ,curtain and ,piano ,solo4 ,during which the stage is arranged for the ,farce4 ,solo4 ,sentimental song4 ,finale4 ,this programme must1 of course1 be adapted to any exigencies of time1 space or other circumstances1 but will serve as an example of what can be done4 ,to conclude with a few hints as to the actual entertainment4 ,if possible1 have a sufficient number of programmes printed1 or carefully and legibly written by hand1 as the most tolerant audience grows restive if it does not know 8what comes next40 ,distribute these1 and let one of your party make it his business to see that the company are properly and comfortably seated4 ,begin punctually2 if your audience have to wait they become impatient1 and as there are few people more incapable of seeing a joke than impatient folk1 it will be to your own advantage to begin at the proper time4 ,be as silent as possible behind the scenes2 it is very tantalizing for the spectators to hear a wild rushing hither and thither1 hoarse whispering1 and the various signs of excitement in which they are not allowed to participate4 ,of course a certain amount of bustle is unavoidable1 but reduce it to a silent minimum4 ,do not be shy2 remember in the first place that the black hides all your blushes1 and in the second place that nobody is there to see you1 but to see a 8nigger0 who is going to make them laugh4 ,half of your audience have probably done the same in their time1 whilst the other half would have done so if they could2 so take heart1 and show them all how really well it can be done4 ,however well-disposed your company may be1 do not let that be any excuse for slovenliness on your part1 but let it rather incite you to work all the harder1 so that when everything is finished and the black is off your faces1 the universal opinion will be--8,we would never have imagined that it could be carried out so well60 ,,chapter ,,vii ,,some ,,suggestions ,,in ,,black ,,for 8,,nigger ,,minstrels0 ,,in the previous chapter hints have been given to enable a party of five or more performers to give a ,nigger ,minstrel ,entertainment4 ,the object of the following is to show how one or two people can contrive to amuse their friends with a few negro performances4 ,the pieces are suitable either as items in a variety entertainment1 or as convenient 8gags0 to be introduced between longer entertainments when the interest of the audience is to be sustained by some timely diversion4 ,it might be remarked1 by the way1 that it is surprising how much the effect of a joke depends upon the humor of the audience4 ,if they are feeling in a happy and pleasant frame of mind1 the mere sight of a comic man is sufficient to bring forth roars and shrieks of laughter4 ,but if a gloom or lack of interest has settled over the company1 even the comic genius of the late ,dan ,leno would most probably have failed to raise a smile4 ,there are two things almost invariably associated with nigger songs--a banjo and bones4 ,proficiency with both these is necessary before attempting to give an entertainment4 ,practice and a quick ear are indispensable for playing or even strumming a banjo4 ,a very little practice will enable you to strike chords with ease1 whilst a quick ear will show when they should be played4 ,to make a successful 8hit0 with the 8bones0 is a question1 more or less1 of knack4 ,a set of four bones costs about #a4jj4 ,when buying take care they are sound1 i4e4 with no crack or flaw1 and that they contain no core of pith1 as this is liable to dull the sound1 rendering it quite impossible to obtain the sharp clean click so necessary for successful rendition4 ,having obtained your bones--a pair for each hand--you must know how they should be held4 ,notice they are slightly curved1 as in ,fig4 #a4 ,with a pair in each hand place the ends between the first and second and second and third fingers1 the convex sides towards each other 7,fig4 #b74 ,hold ,no4 #a 7the bone between the first and second fingers7 fairly firmly1 although not so stiffly as to rob it of a distinct spring4 ,no4 #b 7the bone between the second and third fingers7 must be rapped up against its companion by the action of the third and fourth fingers4 ,illustration3 ,,fig4 #a4--;,curved bone used in nigger minstrelsy4 ,a sharp shake of the hand will make the bones clap together1 while if you keep the hand quivering and also work bone ,no4 #b vigorously a continuous rattle is produced4 ,illustration3 ,,fig4 #b4--;,how to hold the bones4 ,illustration3 ,,fig4 #c4--;,correct position for playing the bones4 ,a good plan1 when once you are accustomed to having the bones between the fingers1 is to hold the hand with the knuckles upwards1 the bones pointing to the ground1 as in ,fig4 #c4 ,by this means the fingers are allowed freer play4 ,at the same time a better appearance is given to the exhibition4 ,at first you will find your rattles jerky and spasmodic1 but do not be content until you have the bones so entirely under command that you can make a long rattle as easily as a solitary tap1 remembering that the less exertion you betray the better will be the effect4 ,your own ear will show you how to introduce them into the music4 ,do not drown the air--the bones are only intended to give a point1 to accentuate certain parts and not to render them inaudible4 ,a smart rattle may be given at the commencement of the music and at the conclusion of the song4 ,,introducing ,,jokes ,all jokes should be introduced by a certain amount of conversational patter between the ,interlocutor and 8,bones40 ,mr4 ,johnson1 the interlocutor1 is always a very simple-minded person1 unable to see any joke until it has been fairly thrown at him1 and perfectly innocent in the presence of the most obnoxious puns4 ,he has a certain patronizing air with his companion which only serves to make his innate simplicity more delightful4 ,mr4 ,johnson maintains an impassive face in the most ludicrous and trying situations by his very matter-of-fact behavior1 extracting all kinds of smart things from the funny man4 8,bones0 is the very reverse of ,mr4 ,johnson4 ,he is up to all the latest catches1 full of quips and puns1 is possessed of a never-failing store of quaint experiences and remarkable stories1 the most improbable of which are gravely swallowed by ,johnson4 ,yet the big red lips on his broad black face must be immovable and never show the least symptom of a smile as he recounts with stolid solemnity his marvelous doings to his credulous friend4 ,the following dialogue is arranged for these two characters4 ,mr4 ,johnson asks ,bones all kinds of simple and apparently harmless questions2 but ,mr4 ,bones replies with a constant succession of puns and jokes3-- ,johnson4 ,so you've been enjoying yourself1 ,william1 lately1 ,i understand4 ,dining out a good deal8 ,bones4 ,oh yes1 that's right4 ,i'd dine with anybody4 ,johnson4 ,yes1 but ,i'm told you dined with the ,mayor last week4 ,is that right8 ,bones4 ,oh yes1 that's right4 ,johnson4 ,then ,i suppose you had an excellent dinner--plenty to eat and drink4 ,what was the menu8 ,bones4 ,well1 to tell you the truth1 there was a lot of 'em there1 but ,i don't recollect him4 ,johnson4 ,ah1 you don't understand me4 ,i mean what was the bill of fare8 ,bones4 ,oh1 well1 it was a pretty fair bill4 ,i believe it cost him about #cjj4 ,johnson4 ,no1 you don't understand me4 ,i mean what dishes did you have to eat8 ,bones4 ,well1 we didn't eat any dishes4 ,johnson4 ,no1 no1 of course not2 but what did you have to eat and drink8 ,bones4 ,well1 ,i believe the first thing we had to eat was something to drink4 ,johnson4 ,and what did you have to drink1 then8 ,bones4 ,well1 it was a new soup4 ,johnson4 ,a new soup6 ,well1 ,i should like to know what that was4 ,what was it called8 ,bones4 ,oh1 ,i don't remember exactly what it was1 but you might mention the names of a few to help me4 ,johnson4 ,well1 was it ,mullagatawny8 ,bones4 ,no1 it wasn't ,multigatony4 ,johnson4 ,was it ,mock ,turtle8 ,bones4 ,no1 it wasn't him4 ,johnson4 ,was it gravy8 ,bones4 ,no4 ,johnson4 ,was it spring8 ,bones4 ,no1 it wasn't spring1 it was summer4 ,johnson4 ,well1 ,i must give it up1 ,william4 ,what was it8 ,bones4 ,oh1 ,i know1 it was what they call--er--er--shadow soup4 ,johnson4 ,oh1 then1 it must be a new soup4 ,i've never heard of shadow soup4 ,bones4 ,never heard of shadow soup8 ,johnson4 ,no1 ,i haven't4 ,i should like to taste that4 ,how is it made8 ,bones4 ,i'll tell you4 ,you go down to the market1 buy a nice chicken1 take it home1 stretch a line across the yard1 hang the chicken in the middle of the line1 put a nice clean pail of water under the chicken1 and when the sun comes out it casts its beautiful rays on the chicken1 reflects the shadow in the pail of water1 and that's what they call shadow soup4 ,johnson4 ,oh1 you go down to the market1 buy a nice chicken1 take it home1 stretch a line across the yard1 hang the chicken in the middle of the line1 put a nice clean pail of water under the chicken1 and when the sun comes out it casts its beautiful rays on the chicken and reflects the shadow in the water1 and that's what they call shadow soup4 ,bones4 ,yes4 ,johnson4 ,but1 my dear sir1 you've forgotten one of the principal things4 ,bones4 ,oh1 have ,i8 ,what's that8 ,johnson4 ,what's that8 ,why1 supposing you have no sun8 ,bones4 ,well1 then--you have no soup4 ,,stump ,,speeches ,a little extra effort in the matter of make-up might be attempted for stump speeches1 for the orator should be as 8seedy0 as possible in the way of costume4 ,a tattered coat and battered hat are usually considered essential to the character1 whilst an old dilapidated umbrella1 of bulky form and shapeless proportions1 is useful for brandishing at the emotional parts or thumping as the impressive points in the speech are reached4 ,the stump orator should deliver his speech mounted upon a rickety chair or table1 for his exaggerated endeavors to maintain his balance will be certain to cause fun amongst the audience4 ,having taken his position with much danger1 and with a familiar look at the spectators1 the speaker may embark upon the lecture4 ,he should speak distinctly and slowly1 pausing every now and again to illustrate his remarks with some quip or to steady himself upon the very rocky pulpit4 ,as an example he may take the following1 which will serve for the opening sentences of a stump speech on 8,sound03-- ,ladies and ,gentlemen1 and others4 ,i have much1 ,i have much 7puts hand in pocket as if to feel how much money he has71 ,i say ,i have much--much feeling of proudness in assembling here in large numbers before you--me--you here dis even4 ,the subject of my investigation has been for many long years1 that is to say early years1 short years1 new years1 old years1 pig's and donkey's ears1 and the rest of the human race4 ,i say the subject of my intellectual and not at all less pig's-head-a-frying lecture on the various means of communicating our thoughts1 words1 title-deeds1 and other chattels1 such as sauce-pans1 frying-pans1 umbrellas1 knobbed sticks1 brick-bats and bricks without bats1 ,i say the subject of this important question1 whether it be the pop-shopular question or whether it be unwise to mention1 or otherwise in dimension1 let it be understood that previous to preparing myself to begin--to commence1 ,i must ask a few questions about the temperaments1 detriments out-o-debtriments1 cape-abilities1 cloak-abilities1 hats1 caps1 boots1 shoes1 underlinen1 socks1 and other kind of earthenware4 ,i say before ,i1 as ,i said before ,i said 8,i say before0--this subject can be clothes-properly dissolved1 we will1 although ,i say it myself1 ladies and gentlemen1 ,i say we shall1 ladies1 we shall all be dead men4 7,takes pinch of snuff1 wipes nose with wet part of handkerchief1 wiping off some black4 ,resumes dialogue47 ,,music ,,for ,,minstrelsy ,taking it for granted that the would-be minstrels have reasonably good voices1 the only difficulty will be 8selection40 ,of course a great deal of tact is required to know what class of music is best suited to the audience4 ,have as much variety as possible4 ,do not confine yourself exclusively to comic songs or to sentimental ditties alone4 ,at all costs keep your audience cheerful and amused4 ,too much humor is apt to nauseate1 but too much melancholy will certainly spell failure4 ,try to gauge the temper of your company1 and if they seem to prefer the serious to the comic parts on your programme1 or vice vers1 make as quick and effective an alteration as you can4 ,they must be made to appreciate you--not simply to tolerate you4 ,to have a piano accompaniment is a distinct acquisition if the voices be of doubtful merit4 ,for accomplished singers a banjo is quite sufficient1 but the amateur will certainly find that a friend at the piano is very handy and reliable4 ,this is1 of course1 entirely a matter of individual taste and circumstances4 ,a very good selection of nigger dialogues1 speeches1 c41 can be obtained from any theatrical publisher4 ,the entertainer will be furnished with useful ideas for a programme1 including some of the most successful minstrels' songs and drolleries4 ,as the ,stump ,orator would say1 8,we must now draw a delusion to our not over long lecture10 feeling confident that the amateur nigger will find his entertainment as great a source of pleasure to himself as of amusement to the audience4 ,,chapter ,,viii ,,tableaux ,,vivants ,,true-,,to-,,life ,,representations ,,tableaux may be divided into two important classes--the portrayal of abstract qualities1 which usually includes motionless figures posed in sustained attitudes1 and historic and romantic groups1 in which the actor is allowed some occupation4 ,illustration3 ,the ,hero4 ,illustration3 ,the ,martyr4 ,the first class is most difficult of successful achievement4 ,in it1 the whole gamut of emotions common to mankind may be symbolized1 and in these attitude and gesture are governed by the mind1 which should be revealed in every muscle1 curve1 and limb of the human frame4 ,illustration3 ,the ,ascetic4 ,illustration3 ,the ,fanatic4 ,strength1 courage1 fidelity1 chivalry1 purity1 and honesty should be posed in such a manner that the simple grandeur and dignity of these attributes cannot be mistaken4 ,the hero1 the martyr1 the ascetic1 the fanatic have each a commonly recognized type and pose4 ,the shrinking form of the coward--he who fears all things greater than himself--must bear the stamp of the puny soul unveiled4 ,the eye of the hypocrite1 the cunning1 the evil and degraded1 is as different from the gaze of the pure of heart as the muddy1 stagnant pool is different from the wide1 blue expanse of salt sea--the air of a foul room from the breath inhaled beneath the open sky4 ,and in the same way that grand music is expressive of all human emotions1 and as welcome to the ear as the song of birds1 so form and color1 attitude and character1 in living pictures are potent emblems of the strength and weakness of complex humanity4 ,the figure that is to symbolize ,hope must possess that wondrous attribute in herself1 otherwise no trickery of dress or limelight can make her anything but a caricature of the spirit of optimism4 ,so that1 in order to portray virtues and vices as they are1 the stage manager's craft reaches beyond superficial knowledge4 ,psychology and intuition are even more important to him than experience regarding blending of colors1 arrangement of lights and grouping of forms1 for the human mind is the keynote in which his music is revealed1 the touchstone of his secret1 the mystic spirit dominating the symmetry of gesture4 ,in the choice of individuals1 personal character is weighty--pink and white flesh tints1 however perfectly blended in a face1 do not stand for ,patience1 ,charity1 or ,sympathy unless the heart behind is pulsed on the pivot-springs of these virtues1 for the experienced eye of the spectator probes beyond paint and attitude1 and knows perfectly well whether these virtues are rightly embodied or merely distorted mimicry4 ,therefore the stage manager of tableaux vivants1 before all else1 needs penetration in recognizing and choosing exponents suitable to interpret the abstract conditions he is anxious to depict1 and it is only when his choice is made that the training1 grouping1 and scenic effects need be considered4 ,tableaux vivants are in character not unlike a symphony4 ,the theme in both is important4 ,in the latter1 the interweaving of other parts enhances the beauty of the dominating strain1 as in the former1 where harmonizing colors and stage effects1 important as they are1 remain ever subordinate to the principal conception aspired4 ,of course1 in the training of subjects1 it is very necessary that one attitude should be maintained by each figure and remain unbroken from the lift to the fall of the curtain1 and this without rigidity of body1 unless the characteristic is typified in rigid lines2 but even more important is the necessity that the mind should not waver nor the features change to an expression not in harmony with the attribute typified4 ,hope does not frown or smile1 and all nervous twitching is absent from the tranquil face and figure of ,serenity4 ,courage shows a lofty brow and steady eye--the shoulders are squared resolutely1 but not aggressively4 ,mercy1 ,pity1 ,love1 ,gentleness1 ,sweetness1 and ,charity are most perfectly imaged by women1 who naturally possess these virtues2 ,dignity1 ,determination1 ,steadfastness1 and ,chivalry by men4 ,but the stage manager need not limit himself by any conventions in this particular1 for it sometimes happens that a woman's face and form breathe characteristics usually found in certain types of manhood1 while a man's countenance may be eloquent of the gentle virtues typical of womanhood4 ,the thoughts of each character must be concentrated on the part undertaken1 and the onlookers absolutely forgotten4 ,as far as possible the actors should forget that there is a certain amount of strain in the immovable pose1 otherwise limbs will twitch and the balance and pose be in peril4 ,with sufficient practice it will not be difficult to remain in the attitude fixed upon for the few minutes after the curtain is lifted4 ,it is only at first that the limbs1 either through inexperience or nervousness1 prove rebellious4 ,the impersonators should not be afraid to breathe regularly1 for this prevents artificial rigidity4 ,figures should not be crowded together4 ,a small stage1 such as would be used in a drawing-room1 requires a picture in proportion4 ,the dresses and lights should blend harmoniously with the background and frame4 ,,staging ,fig4 #a depicts the lighting arrangement at back of frame4 ,the guard-wires1 running from side to side1 are to prevent the possibility of dresses catching fire4 ,the footlights usually consist of ordinary night-lights with illumination glass covers4 ,behind these are tin shades for reflectors4 ,electric light1 if available1 can be substituted for oil lamps as shown4 ,in the same sketch a curtain-raising apparatus also appears4 ,two persons should be chosen for its manipulation1 and be always stationed in such a position that they can draw and divide the curtain at the given signal4 ,every separate production is timed by the stage manager or some other reliable person1 and the duration of each should be exact4 ,three1 or at the most four1 minutes are ample time for the audience to take in the details of the picture1 and the instant the curtain is drawn another group is arranged1 the actors being perfectly familiar with the position and pose they are to take1 going to their places without confusion or disorder4 ,in a succession of group-pictures different groups of actors are necessary1 for it is impossible for the same persons to change their costumes in the minute or so that intervenes before the succeeding spectacle4 ,where the number of players amounts to fifteen1 twenty1 or twenty-five1 the number of tableaux arranged upon can be divided between them1 and the productions1 consisting of from two to five figures1 arranged in such a way that during group ,a's tableaux group ,b is ready in the wings and takes the stage the instant group ,a disappears through a different exit to the dressing-room4 ,next1 group ,c takes group ,b's place in the wings1 and so on with all the groups4 ,in this way each has a few minutes in which to change4 ,illustration3 ,,fig4 #a4--,lighting arrangement for back of frame4 ,confusion and fussing will be prevented by each group knowing exactly their manner and mode of entrance4 ,some plan1 which renders it impossible for group ,a leaving the stage to collide with group ,b in the wings1 must be fixed upon4 ,because the tableaux take place in a strange drawing-room1 where there is not much accommodation possible behind the platform1 and few entrances and exits1 is no adequate excuse for any bungling or confusion4 ,however limited the space1 the stage manager and his company should hit upon some plan that makes for order and precision4 ,to do this1 the performers should come early to rehearse entrances and exits1 and then memorize them1 for any mistake behind the scene1 even if of so slight a character that it does not retard the productions1 is apt to disturb the nerves of the players1 and rob them of their necessary calm4 ,there should be no laughing or talking1 for sounds easily penetrate through a drawing-room1 and not only disturb the audience1 but draw from their task the attention of the group occupying the stage4 ,the stage manager1 who feels unable to represent abstract qualities perfectly1 would do well to avoid them altogether4 ,it may happen that his actors include a few who are absolutely raw material where tableaux are concerned1 and upon such occasions he should always have a few studies in his repertoire in which motionless poses are not necessary4 ,,penelope ,,and ,,ulysses ,for example1 a pretty novice1 sitting at a spinning-wheel1 weaving imaginary threads from a spindle of flax1 will do very well as ,penelope1 spinning her endless garment during the absence of ,ulysses4 ,in a simple white or colored gown1 with her hair falling over her shoulders1 and her head bent slightly over the wheel1 she makes a pleasing picture4 ,cinderella1 seated on the floor1 gazing into the cinders1 with her hands clasped round her knees1 is another quite easily adopted attitude4 ,another pretty scene1 acted over the spinning-wheel1 is the ,lady of ,shalott1 weaving 8a magic web with colors gay10 and peering from time to time at the mirror above her1 which reflects 8the highway near1 winding down to ,camelot40 ,in this tableau the facial expression is wholly different from that which dominates ,penelope's features4 ,penelope's labor is inspired by stratagem1 to keep her unwelcome suitors at bay4 ,her soul is steeped in a patience so melancholy that it verges on despair1 whereas the ,lady of ,shalott 8weaves by night and day10 because she believes she is chained to her task by an awful power4 ,if she pauses a moment1 a curse will fall upon her4 ,her eyes1 therefore1 are wild with fear1 her face contorted1 her fingers pluck the threads feverishly1 and there is none of ,penelope's listlessness in her wild agonized concentration4 ,history and fiction teem with incidents that can be easily translated into groups1 wherein an absolutely motionless attitude is not required4 ,the three witches in 8,macbeth10 in their cone-shaped hats1 tattered rags1 and disheveled hair1 their wild1 evil prophecy1 seared in the deep lines of their withered faces1 haunched on the ground conspiring together4 ,guinevere1 prone on the convent floor of 8the holy house at ,almesbury02 ,king ,arthur1 fully armed1 and stained with battle1 bending over her in agonized tenderness1 pity1 and shame2 and many other examples1 which will easily be found by the stage manager1 ambitious to exhibit pictures more unique than those usually adopted4 ,,stage 8,,props0 ,the materials used for characters need not be expensive or difficult to procure4 ,cheap sateens1 muslins1 velveteens1 gold paper pasted over cardboard and large buttons1 glass diamonds and emeralds1 tinsel and silver braid1 bright-colored ribbons from the remnant basket1 discarded shoes and stockings1 transformed by cheap dyes1 vari-colored beads1 imitation ermines1 tin swords and armor--all these are useful and effective beneath the lime-light4 ,backgrounds may be arranged by means of curtains draped over the walls in colors that blend or contrast harmoniously as desired with the tableau produced4 ,properties1 such as old wine flagons1 lamps1 c41 may be fashioned by means of cardboard1 cut in the necessary shape1 gummed together1 and covered with gold or silver paper4 ,illustration3 ,,fig4 #b4--,tiers for back-stage grouping4 ,fancy dress magazines and illustrated histories will reveal many secrets to the stage manager4 ,better still1 a visit to a museum1 when he is in doubt about the shape and period of some article he requires1 and observation of the properties utilized in historic or ,shakespearean plays will well repay time and trouble spent4 ,duplicates in lead1 wood1 or tin of almost any old article can be fashioned well enough to answer his purpose4 ,when a large group of figures is to be arranged1 light wooden ladders1 placed in a semicircle1 and covered with some appropriate color1 make easy and adaptable tiers1 on each step of which a figure is posed1 or an arrangement of tiers for back-stage grouping can be made as shown in ,fig4 #b4 ,the most expensive aids in the stage manager's paraphernalia--and these1 alas1 there is no overcoming--are the supply of the lime-light and the loan of the wigs4 ,but in this direction he should not be too ambitious1 contenting himself at the start with a moderate outfit in accordance with his means and inexperience4 ,,chapter ,,ix ,,charades ,,an ,,old ,,favorite ,,for ,,indoor ,,parties ,,one of the most popular indoor entertainments for winter evenings1 or indoor parties1 both with children and 8grown-ups10 is charades4 ,not only do they afford amusement to the audience1 but the players themselves obtain a good deal of fun from their efforts to baffle those who are listening to them4 ,suppose1 for instance1 that a 8party0 is composed of some twenty people4 ,about five or six of them are selected to go outside1 choose a word1 which can easily be split into syllables1 each making a word in itself4 ,the players must not waste too much time in planning how best to act the words1 or the audience will show signs of impatience4 ,this can also be averted by the hostess arranging for a musical1 or other little 8stop-gap0 to fill up the time which must necessarily elapse between the moment when the players retire and their subsequent appearance4 ,having thought of a little sketch which will take in all the several parts of the word chosen1 the players arrange impromptu scenery and start the first act1 taking care to bring in the first syllable1 and yet not giving it undue prominence4 ,this care must be observed all the way through the charade1 as the fun is much greater when the listeners cannot guess the word too easily4 ,if the word chosen is 8,indignation10 it is split into three syllables--,,in1 ,,dig1 ,,nation4 ,these words having been acted1 in the last scene the complete word is brought in1 and as it is through this act the audience will listen most carefully for a clew1 the players1 if they wish to baffle them1 should do their best to bring in a variety of words in order to mislead the listeners4 ,in many cases a little scenery adds considerably to the successful presentation of charades4 ,a 8window0 frequently proves of service4 ,but it may happen that the end of the room where the actual window is situated does not lend itself conveniently to the performance of the charade1 and in this circumstance the best plan is to improvise an 8artificial window10 which1 being portable1 can be used in any required position4 ,,an 8,,artificial ,,window0 ,a start can be made in construction by procuring a sheet of strong white paper of the requisite size4 ,with ,india ink or chalk the thick black lines1 as shown in ,fig4 #a1 are painted in4 ,the dotted lines represent the sheet of paper1 the four holes the positions at which the nails fasten it to the wall1 and the finished effect of an interior window is obtained by the draping of art muslin or curtains1 as suggested by the diagram4 ,oftentimes a little exterior scene is wanted4 ,a simple way of improvising a cottage is that of using two screens placed as shown 7,a1 ,a1 ,fig4 #b74 ,a plank or the shelf of a cupboard is placed across the top 7,d1 ,fig4 #b71 and kept in position either by nails or gimlets screwed into the top of the screens4 ,a tablecloth of any bright color1 preferably red1 is stretched from points 7,b1 ,b1 ,fig4 #c71 slanting downwards and slightly over the edge of the screens4 ,illustration3 ,,fig4 #a4--;,interior artificial window for charades4 ,two 8artificial windows0 7,c1 ,c1 ,fig4 #c7 should be then pinned to the screens1 and the exterior of cottage is complete1 an additional artistic effect being produced by fixing flower-stands with ferns in positions as shown 7,e1 ,e1 ,fig4 #b74 ,illustration3 ,,fig4 #b4--,plan for improvised cottage4 ,illustration3 ,,fig4 #c4--;,exterior view of improvised cottage4 8,a ,,seaside ,,scene0 ,at first sight it might seem out of the question to produce a really passable scene representing 8the rolling deep40 ,this may be easily carried out1 however1 by a careful study of ,fig4 #d1 and the requisitioning of such commonplace articles as a large white sheet1 which is stretched and nailed to the wall1 a few rolls of stout white-backed wall-paper1 hassocks1 boxes1 and old brown or gray cloths4 ,illustration3 ,,fig4 #d4--;,a sea scene4 ,the wall-paper is cut into three lengths corresponding with the width of the sheet1 one about #ah inches in depth 7,a1 ,fig4 #d71 the next #bh inches 7,b1 ,fig4 #d71 and the third #cd inches 7,c1 ,fig4 #d74 ,at each end a piece of wood is fastened 7,d1 ,fig4 #d71 behind which is glued a block of wood or small weighted box 7,e1 ,fig4 #d74 ,the lengths of paper1 marked ,a and ,b1 are cut in zig-zag fashion at the top in order to produce the appearance of waves1 the effect being enhanced by an application of blue paint used as shown in the diagram4 ,the strip of paper marked ,c forms the horizon1 therefore the top of this should be left straight and painted blue to a depth of about #aj inches4 ,to complete the effect1 boxes1 hassocks1 and stools of different heights are grouped round and covered with the gray cloths to represent rocks 7,f1 ,f1 ,fig4 #d74 ,an empty barrel and a few coils of rope flung carelessly about help to make a more realistic scene1 and well guarded lamps placed between the slips representing waves throw them up into necessary prominence4 ,a ,,portable ,,tent ,illustration3 ,,fig4 #e4--;,a portable tent4 ,a portable tent is made from a few sheets of brown paper glued together to form a huge square 7,a1 ,a1 ,a1 ,a1 ,fig4 #e71 the paper cut out to the shape described 7,b1 ,b1 ,b1 ,b1 ,fig4 #e71 and folded at the dotted lines1 ,c1 ,c1 ,c1 ,c4 ,the whole is then arranged over three poles1 crossed and tied together at the top1 an opening or entrance being formed by the segment cut away4 ,,outfit ,,for ,,highwayman ,a highwayman's mask will prove easy of construction1 and a thing of delight to the average boy4 ,moreover1 it will often find a place in charades4 ,illustration3 ,,fig4 #f4--;,a highwayman's mask4 ,illustration3 ,,fig4 #g4--;,highwayman's leggings4 ,on a width of black sateen or any other suitable material a design is drawn as shown in ,fig4 #f1 marked with chalk and cut away to fit the face4 ,a piece of thin black tape is fixed to either side1 so that the mask may be tied round the head just above the ears4 ,amongst the highwayman's outfit there must certainly be a pair of high boots1 but as these are not found in every household1 it may be as well to give a few simple directions for the making of them4 ,from several sheets of stout brown paper four pieces of the shape indicated at 7,a1 ,fig4 #g71 are cut4 ,so that the tops of the boot shall not crack when the leg is bent1 small pieces of paper are gummed at either side1 as shown 7,b1 ,fig4 #g74 ,only the fixing of a piece of tape1 or double fold of the paper for the instep1 remains to be done 7,c1 ,fig4 #g71 and an excellent pair of highwayman's boots is to hand4 ,illustration3 ,,fig4 #h4--;,highwayman's hat4 ,an ordinary pliable felt or straw hat can be easily and quickly transformed into a three-cornered highwayman's hat4 ,a study of ,fig4 #h will explain where the stitches are to be taken from the brim to the crown4 ,a ,,policeman',s ,,helmet ,two hard felt derby hats properly treated make an excellent representation of a policeman's helmet1 which will very often be found useful for charade acting4 ,it is first of all necessary to cut off the brim of one of the hats at the point where the band comes4 ,the crown of the second one is also cut off1 but some three inches above the band4 ,illustration3 ,,fig4 #i4--;,front and back view of a policeman's helmet4 ,the first crown is next carefully fitted over the brim portion of the other one1 and tacked round firmly so that the two pieces do not slip4 ,the headgear now presents the appearance of an abnormally high derby hat4 ,the curved part of the brim is cut away1 and the front shaped to a point1 as shown in ,fig4 #i1 and the brim at the back is nicely rounded4 ,the usual ornamentation may be suggested by the application of chalk1 the addition of a large-sized wooden button mold glued to the top of the crown1 a chin-strap of shiny black leather completing the article4 ,illustration3 ,,fig4 #aj4--,skull cap1 pigtail1 and hat for ,chinaman4 ,a ,,chinaman',s ,,head ,,covering ,a ,chinaman is a character quite easily portrayed1 and one which can be simply represented by pressing into service articles of everyday use4 ,from a piece of pale pink sateen the head covering 7,a1 ,fig4 #aj7 is fashioned1 a string run through at ,c to be drawn out or in at will2 and a piece of rope or twist of darning cotton1 ,b1 sewn on at the back for a pigtail4 ,then if the would-be ,chinaman wishes to cover his head still further1 the lid of the linen basket provides him with a hat1 when a piece of braid or black paper has been fixed to the rim1 and a string sewn on for the chin-strap4 ,a highly-colored dressing jacket and a pair of rather loose white trousers complete the ,chinaman's outfit4 ,,advertisement ,,charades ,whilst some people consider the ordinary charades the best fun1 there are others equally ready to admit that they prefer the 8dumb0 representation of words chosen1 one of the most popular of these being the 8advertisement0 charade1 wherein some well-known poster is chosen and acted in silence4 ,a well-known soap advertisement which has been so popular for years serves as an excellent illustration4 ,there are few1 if any1 who could not recall the picture4 ,a man1 dirty of face and hands1 with torn clothing1 sits at a table writing a letter4 ,a faithful representation of this can be easily produced by the aid of soot smeared carefully over the face and hands1 and a wig of tousled hair4 ,perhaps a dozen advertisements can be 8played10 a few moments elapsing between each for the audience to write down their 8guesses0 on slips of paper1 which are afterwards collected1 and a prize awarded to the competitor who has the largest number of answers correct4 ,the two following examples of charades are given so that the players may fit in their own words4 ,if the charades need to be written in dialogue form and committed to memory days before they are played1 much more trouble is given1 and the game becomes a somewhat irksome one4 ,,baronetcy ,,baron-,,ate7,,et7-,,cy7,,sea74 ,first ,syllable4 ,,baron4 ,enter two boys dressed as highwaymen4 ,for this purpose art muslin scarves tied round the waist1 hats and masks as already described1 and toy pistols are enough1 with a scenery of trees painted on some stout paper4 ,first boy addresses his comrade in tones of mystery1 glancing to right and left as though he is expecting somebody4 ,at length he holds up a warning finger3 8,hist6 ,the ,baron comes this way60 ,they secrete themselves and wait until the ,baron approaches4 ,he looks round1 whereupon the two highwaymen jump out1 secure him1 and make off4 ,the ,baron's servants arrive on the scene too late1 but vow they will track the robbers1 and start off in hot pursuit4 ,end of ,first ,act4 ,second ,syllable4 ,,ate-7,,et74 ,baron asleep in one corner of a tent 7made as previously described74 ,the robbers are eating their dinner1 and talking in low tones of the ransom they expect to get for their prisoner4 ,whilst they are talking the ,baron awakes4 ,they are so intent upon their conversation that they do not observe him arise1 creep up1 and steal their food4 ,he eats it1 and returns to his corner again4 ,the ruffians discover their food is gone and are furious1 but do not suspect their prisoner1 who they suppose is still slumbering4 ,the ,baron is so amused at their efforts to find the thief that he begins to laugh1 rocking himself to and fro1 and at last shouts1 8,i ate it1 ,i ate it40 ,just as they are about to flog him a noise of tramping feet is heard1 and they hasten to see who is coming4 ,end of ,second ,act4 ,third ,syllable4 ,,sea-7,,cy74 ,baron and his faithful retainers are sitting by the seashore1 and he is telling them how he made his escape from the robbers4 ,as they are talking an old beggar comes along4 ,the ,baron at once recognizes him as one of the robbers1 and gives orders that he is to be seized and bound4 ,presently the other one arrives1 and he is treated in the same way4 ,finally the ,baron promises to forgive them if they will give up highway robbery and go to sea4 ,end of ,third ,act4 ,,baronetcy ,enter several boys in ragged clothes as newsboys4 ,they are shouting papers for sale1 and the chief thing that can be heard is 8,extry--,capture of a ,baron at ,sea40 ,the boys discuss the news1 and at last one of them bursts into a fit of laughter after having opened the paper4 ,the others crowd round to see what is causing the merriment4 ,laughingly he explains that it is not an account of an exciting piratical affair1 but merely the report of the capture of a ,baronetcy in ,england by a fair cousin from the ,united ,states4 ,,beanstalk ,first ,syllable4 ,,bean4 ,scene4--,widow ,frankey's kitchen4 ,representation of this made by use of window described above1 kitchen table and chairs1 plates1 pastry board1 c4 ,widow ,frankey1 in apron and cap1 is busy making pastry1 and talking to herself about her son ,jack1 and wondering when he will return from the errand on which she has sent him4 ,jack appears4 ,tells his mother where he has been1 and she scolds him for being so slow4 ,he goes out in a temper1 and ,widow ,frankey leaves her work1 sits down and cries1 finally falling asleep4 ,jack returns1 finds his mother asleep1 and determines to make up for his ill-temper by finishing the pudding she has already begun4 7,an amusing scene can be shown here by the funny mistakes he makes1 putting into the pudding all kinds of odd ingredients1 amongst them a bean47 ,his mother awakes1 to find dinner set1 and ready4 ,there is great fun over the pudding when the widow finds the bean4 ,end of ,first ,act4 ,second ,syllable4 ,,stalk4 ,scene4--,corner of market-place1 where a flower-seller has her stall4 ,for this purpose a table1 draped with art muslin1 with a few pots of ferns on it1 and some flowers made from tissue paper1 will be all that is required4 ,girl sits on a stool doing up bunches of flowers4 ,jack comes along running1 and in his hurry knocks the table over4 ,flower-seller pretends to be very angry1 and insists upon ,jack's paying for the damage4 ,he does so1 and the girl laughingly gives him the stalk of a flower for fun4 ,he puts it in his button-hole and walks off1 leaving the girl laughing4 ,end of ,second ,act4 ,,beanstalk ,scene4--,widow ,frankey's kitchen4 ,jack returns to his home1 and tells his mother of his escapade1 showing her the stalk which the flower-girl had given him4 ,just then the door opens1 and the flower-girl enters1 throws ,jack's money on the table1 telling him she took it only for a joke4 ,he returns the stalk to the girl1 who laughingly tells him that it is a beanstalk4 ,widow ,frankey retires1 and ,jack tells the pretty flower-girl that he loves her4 ,end of ,last ,act4 ,,chapter ,x ,,the ,,possibilities ,,of ,,the ,,musical ,,sketch ,,the musical sketch occupies a high and prominent position in the scale of entertainments given by the individual4 ,with many it is more popular than ventriloquism1 impersonations1 reciting1 or conjuring1 and needs as much skill and study as any of these other accomplishments4 ,for its successful rendition the artist must be equipped with #a4 ,subtle humor and pathos4 #b4 ,impromptu patter4 #c4 ,a good memory4 #d4 ,a clear pronunciation4 #e4 ,mimicry4 #f4 ,self-accompaniment from memory4 #g4 ,individuality and mastery of the audience4 ,he must also be well versed in the popular topics of the day1 and be able to dish them up in an attractive manner to suit the humor of his various hearers2 and1 of course1 a certain amount of natural talent is indispensable4 ,in this mode of entertainment there should be no pause4 ,the whole time the artist should either be engaged in patter or playing1 and he must go from anecdote to anecdote smoothly and without jerkiness1 always relating his stories as if they were his own experiences4 ,he should begin an after-dinner story in some such way as-- 8,the other night1 when dining with my friend1 ,mr4 ,a41 ,i had the misfortune to be stuck down beside his elderly maiden aunt1 ,miss ,dimbledock1 who my host had previously informed me was a stanch adherent to the ,blue ,ribbon ,army4 ,now1 as ,mr4 ,a4 is her only living relative1 he naturally expected to inherit her wealth1 and consequently had given instructions to ,coggledab1 the butler 7who on ordinary occasions served as coachman71 that especial attention and care were to be lavished upon her severe and abstemious person2 but1 alas1 he had forgotten to instill him with her principles1 and the result was that the poor old lady was mortally offended1 for1 ere we had reached the second course1 ,coggledab leaned over her chair in a fatherly and solicitous manner that well became his white hairs and portly person1 and whispered in a voice that penetrated every corner of the room3 8#8,gin1 whisky1 or brandy1 ,mum8 ,you can't be enjyin' of yourself6 ,you're not drinkin'6' 8,and it is to this apparently trivial incident that a year ago a flourishing dogs' home was opened in ,new ,york1 and that my poor friend ,mr4 ,a4 can be seen any day selling matches at his post in ,times ,square6 ,and talking of the importance of trivialities1 reminds me of an adventure that befell me the other day4 ,i had hired a taxi-cab1 and was just stepping into it----10 c41 c41 thus introducing quite a different anecdote4 ,now1 the outlines of the incident of ,mr4 ,a4's dinner-party are taken from a comic paper1 but twisted and colored to suit the requirements of the artist2 and there are many stories that may be dished up in similar manner1 while frequently personal experiences are extremely humorous when rightly treated4 ,,the 8,,all ,,in ,,all0 ,the artist should study and cultivate the correct and various methods of telling a story1 remembering ,pope's adage-- 8,for style is all in all1 whate'er is writ1 ,the substitute for genius1 sense1 and wit40 ,if the style of writing is important1 how much more is the manner of verbal narration4 ,the wittiest story may fall to pieces in the hand of the inartistic1 while the most trivial incident humorously handled may be greeted with shrieks of merriment4 ,the raconteur must give his audience the impression of frank geniality and friendliness without familiarity1 his attitude cunningly eloquent of the man who is about to open his heart to a confidante4 ,orchestra chairs and gallery are his bosom friends4 ,he twinkles and patters at them right merrily4 ,if he paints their peculiarities or laughs at their social ways he must flavor his babbling with the tender fun of that greatest of humorists1 ,charles ,lamb1 who never aped or scoffed at physical deformity1 and was never cynical at another's expense4 ,the caricatures depicted by mimicry must be cleansed of that sour ,voltaire bitterness and cruelty1 the artist always remembering that he is performing in order to beguile1 and he must cultivate that delicate tact which prevents him from imitating the withered idiosyncrasies supposed to be typical of the old maid in the drawing-room1 when he knows that some spinster relative or friend is present4 ,the public possesses a vast fund of humor1 and there is nothing it loves so much as a hearty laugh1 but its risibilities should be handled as delicately as a trout is tickled1 and if they are only provoked at the dear expense of some unfortunate individual1 they are coarse and vulgar1 and the artist himself is culpable4 ,the broad double meanings of apparently innocent witticisms one might have heard at some vaudeville halls should be rigorously avoided4 ,there are gentlemen1 fine-souled and clean of mind1 in your gallery as in your orchestra chairs4 ,treat them as such4 ,appeal to the best1 to the refined sense of the ludicrous that lurks in every mind1 and you will be as welcome in the most select drawing-room as in the theater4 ,humor and fun are as bracing and purifying a tonic as a breath of sea air4 ,they should be steeped in the salt ozone of wit1 but never in the withering blight of vulgarity4 ,,an ,,artist--,,and ,a ,,gentleman ,the artist should be large-souled and natural in attitude and gesture--a gentleman from head to heel in the best sense of the word--and the result will brace up and encourage him1 for he will observe the faded city merchant laughing with the heart-whole abandon of the child4 ,it is not necessary1 and it may become even monotonous1 to pose forever as the comedian who sees fun in every incident around him4 ,a great and versatile artist1 now deceased1 in the middle of his recital would sit down at the zither when the room was still ringing with laughter1 provoked by his keen shafts of humor1 and win tears by the exquisite pathos of the refrain3 8,the mill will never grind with the water that is past40 ,maudlin melodrama is not pathos any more than vulgar mockery is humor4 ,a thin veil lies between tears and laughter1 and both are nearer the surface than some artists realize4 ,both are noble and wholesome1 and so should never be made puny by too little giving or rendered grotesque by too much4 ,a most effective means of self-accompaniment is the harp1 and one moreover which adapts itself exquisitely to the subtle charm and changing qualities of the human voice1 but only in the performer's more serious moments4 ,to twang at this instrument and pose above it in the attitude of the comedian1 to pluck it banjo fashion1 is to displease and jar the sensibilities of the most uninitiated of the audience4 ,the dual art is a stumbling-block to many a versatile artist1 and its perfection needs a tremendous amount of persevering and diligent practice4 ,there are some gifted performers to whom the art of pattering or reciting to music is inborn1 and so extremely facile1 but to the less fortunate it presents discouraging obstacles1 and the power of improvising an accompaniment suitable to the anecdote or poem related is not given to the majority4 ,however1 the student should remember and be encouraged by the fact that 8steady effort attracts unknown powers to our aid10 and work on determinedly until the difficulty is mastered4 ,in studying the dual art1 the beginner is apt to hammer the words to the accompaniment1 or the accompaniment to the words1 and it seems at first impossible to arrive at that perfect blending of voice and music which is essential to this kind of performance4 ,another extremely common fault is to emphasize the wrong word or the wrong note1 with the result that the achievement becomes meaningless4 ,the ear should be trained to the rle of an exacting critic1 and when this power is developed it will demonstrate faithfully wherein the failure of co-operation lies4 ,music should never be suffered to overburden the words of the poem or anecdote related4 ,it is usually but a ground-work upon which the artist builds1 8at most1 an undercurrent of answering emotion40 ,the instant it flows through the floodgates of restraint it obliterates the meaning and the sense of the words as the waters of a burst dam obliterate the natural features of dry land4 ,another serious fault to be found in the rendition of the inexperienced student is permitting the time of his accompaniment to swing into his voice4 ,against this he must be severely on his guard1 or he will develop a wearisome habit of chanting in monotone4 ,while taking pains to blend his voice with his accompaniment1 he must take equal care to keep both distinct and apart4 ,this sounds paradoxical1 but practice and self-criticism will prove that both are true and possible4 ,,music ,,and ,,words ,the speaker should learn to harmonize his music so exquisitely with his words that to the uninitiated the accompaniment seems rather extempore improvising than the result of toil and diligence4 ,as a matter of fact1 it is extremely rare that even the greatest artists dare trust to the inspiration of the moment to provide them with adequate accompaniment4 ,an artist may have a theme or motif borrowed from some composer1 and he may be sufficiently gifted to plan it out and develop it for himself1 but always with careful thought and deliberation before he gives it public expression4 ,the dual art is as full of vagaries and traps as the ,french language1 and at first the student who finds himself handicapped by inability to conquer it1 cannot do better than study some poems written to music1 and at these he must work steadily before he attempts to patter to accompaniment4 ,a few musical poems mastered will go far to secure him an air of ease and self-possession4 ,illustration3 ,correct attitude at piano4 ,for instance1 undertake some such study as ,racine's tragedy of 8,athalie10 which has been so exquisitely set to music by ,mendelssohn4 ,in the opening bar of 8,allegro ,moderato10 a few notes are played to introduce the passage1 8,where do those women and their children go80 ,then there are a few more notes1 followed by the words1 8,the ,lord hath laid the queen of cities low40 ,the four succeeding bars are treated in the same way4 ,the music ceases while 8,her priests are captives0 is recited4 ,then a chord is struck1 and the voice goes on unaccompanied1 8,her monarchs are rejected40 ,another chord1 8,her godly rites forsaken1 unprotected40 ,the sixth bar opens with a chord1 and is followed by the words1 8,down1 temple6 ,cedars1 down60 and terminates with four semi-quavers4 ,this is an intensely dramatic poem1 written in rhymed ,alexandrines1 and the student must take great care not to rend the words from the accompaniment1 or the accompaniment from the words4 ,the short phrases and detached chords must punctuate and emphasize the sentences1 and lend weight and finish to the whole4 ,this is not a difficult task when compared with such a study as 8,the ,dream of ,jubal10 in which the music accompanies the words in strict time1 the combination of voice and pianoforte flowing smoothly1 the components dependent and yet never waiting for each other4 ,the only way to reach perfection is to study the poem and music separately at first1 until the student is fairly familiar with both4 ,then continue them with the aid of a metronome until the technicalities of the mechanism1 which include correct emphasis1 pauses1 and rhythm1 and the proper flow of the phrases1 are mastered4 ,when this has been frequently rehearsed1 the student may try his powers without the metronome1 and gradually1 but surely1 he will master the antagonistic forces arrayed against him4 ,the artist who possesses a natural gift of composition will find it extremely useful1 for there are many exquisite poems which1 although seeming to clamor for a musical accompaniment1 have not yet been touched2 but this combination is fraught with perils1 and those who approach it must be for ever wary of the grotesque and unfit4 ,in burlesque1 of course1 the artist has great license in the matter of accompaniment4 ,he may exaggerate and slash his pianoforte 7taking care never to drown his voice71 and achieve the absolutely absurd and ludicrous1 but1 in the poems or patter that need delicacy1 lightness of touch1 melancholy cadences or bubbling1 merry notes1 he cannot be too careful in the theme he chooses to aid and color his portrayal4 ,in such pieces1 the right attitude1 the right gesture1 the right expression must be studied and gripped1 so as to add their subtle beauty to the whole4 ,the accompanying sketch shows the correct attitude at the piano1 or rather1 the attitude generally adopted by the professional musical-sketch artist4 ,the body is turned 8three-quarters0 to the audience1 the head full-faced1 the left foot working the pedals1 while the right usually follows the direction in which the performer is looking4 ,,chapter ,,xi ,,vamping ,,simplified ,,an ,,accompanist ,,in ,,an ,,hour ,,whilst 8vamping10 or the improvising of a musical accompaniment1 is considered by many anything but a classical accomplishment1 yet those who can accompany in this way are a decided help to a general or children's party4 ,in either case among the guests will be found some who possess the gift of song1 either comic or sentimental1 but who lack the power or the ability to play their own accompaniments4 ,illustration3 ,,fig4 #a4--;,first chord4 ,moreover1 it may happen that the services of a skilled pianist are not available1 and in these circumstances any one who can vamp will be deemed a useful acquisition4 ,the object of this chapter is not to give either intricate or comprehensive instruction1 but rather to suggest1 even to those who have had no musical training1 a few rules whereby they will be enabled to step into the breach occasioned by the absence of an accomplished player4 ,an ordinary piano has fifty notes1 comprising ,a1 ,b1 ,c1 ,d1 ,e1 ,f1 ,g1 in succeeding order4 ,the whole keyboard is divided into two portions--treble and bass1 the former starting from the fourth ,c up from the left2 the notes below the fourth or middle ,c comprise the bass4 7,see ,fig4 #a4 ,arrow denotes middle ,c47 ,each black note above a white is its sharp1 and each below its flat4 ,for example1 taking the treble note ,g1 the black note above it is ,g sharp1 the one below it ,g flat4 ,before starting to vamp to a song1 the singer must hum over a line or so of the song in order that the 8vampist0 may keep both the time and tone in his mind for transference to the piano4 ,his ear will tell him when he has struck a few chords whether they are in the key in which the song is written4 ,if he finds that when a few bars of the song completing a distinct or rhythmical period have been hummed the note finished on is ,c1 then he will know that the key is ,c1 and find his chords as suggested by the diagrams given4 ,,vamping ,,chords ,,and ,,their ,,relative ,,changes ,there are three principal chords in a key which are sufficient to cover the range of melody4 ,starting in ,c1 the first chord for the right hand from the little finger to the thumb is made up of the notes middle ,c1 bass ,g1 and bass ,e4 ,the left hand strikes the octave ,c immediately below the right hand thumb on ,e4 7,fig4 #a47 ,the second chord starts from little finger of right hand on ,f1 first finger on ,c1 and thumb on ,a in bass1 the octave ,f1 below the right hand ,a1 being struck in the bass4 7,fig4 #b47 ,illustration3 ,,fig4 #b4--,second chord ,the third chord starts with little finger of right hand on ,g1 third finger on ,f1 and thumb on ,b in bass1 the left hand striking the octave ,g below the ,b on which thumb of right hand is placed4 7,fig4 #c47 ,illustration3 ,,fig4 #c4--,third chord4 ,to complete the melody it is necessary to go back to the chord started with1 taking it up an octave or eight notes higher in both hands4 ,the relative changes are brought about by the use of the following chords4 ,striking the ,f sharp with the little finger of right hand1 the first finger is placed on the ,d1 and the thumb upon middle ,c1 the left hand taking the octave ,f sharp immediately below middle ,c4 7,fig4 #d47 ,illustration3 ,,fig4 #d4--;,first chord of relative change4 ,the second change starts with little finger of right hand on ,g1 first finger on ,d1 and thumb on ,b below middle ,c1 the octave ,g in left hand completing the chord4 7,fig4 #e47 ,illustration3 ,,fig4 #e4--,second relative change4 ,another change is produced by the use of the next two chords4 ,illustration3 ,,fig4 #f4--;,another change4 ,striking ,g sharp with the little finger of the right hand1 the first finger strikes ,e1 and the thumb ,d2 the octave ,g sharp being struck in the bass by the left hand4 7,fig4 #f47 ,the twin chord to the one just described is made by placing the right hand little finger on ,a1 the first finger on ,e1 and the thumb on middle ,c2 the octave ,a1 immediately below middle ,c1 being struck by the left hand4 7,fig4 #g47 ,illustration3 ,,fig4 #g4--,twin chord to that described in ,fig4 #f4 ,the final change necessary is produced by the two following chords4 ,illustration3 ,,fig4 #h4--;,first chord of third change4 ,the little finger of the right hand is placed on ,c sharp1 first finger on ,a1 and the thumb on ,g1 both the latter notes being bass--that is1 below middle ,c4 ,the left hand strikes the octave ,c sharp in the bass4 7,fig4 #h47 ,illustration3 ,,fig4 #i4--;,final chord4 ,the last chord is made by striking ,d above middle ,c with the little finger of the right hand1 ,a below middle ,c with the first finger1 and ,f also below middle ,c with the right hand thumb2 the left hand takes the octave ,d in the bass4 7,fig4 #i47 ,by a study of the chords set forth above it is seen that the octave struck by the left hand in every case is a lower tone of the note played by the little finger of the right hand--viz41 if the little finger of the right hand strikes ,g in the treble1 the octave ,g is played by the left hand in the bass4 ,an effective ending to a vamping accompaniment is brought about by the use of a 8run40 ,starting from the ,c in the bass below the middle ,c 7indicated by arrow on diagram71 and playing the ,e and ,g with first and second fingers1 the thumb is taken under1 on to the middle ,c and the action repeated twice1 the run finishing on the fourth ,c in the treble4 7,fig4 #aj47 ,illustration3 ,,fig4 #aj4--,showing the 8run0 on piano embracing three chords4 ,it is useful and interesting to bear in mind that any chord can be made by placing the little finger on a note desired1 missing the next two covered by the second and third fingers1 striking the note covered by first finger1 missing the next1 and striking the one covered by the thumb4 ,having committed the above chords and 8run0 to memory1 the performer can play them to suit the time in which the accompanied song is written4 ,,chapter ,,xii ,,an ,,evening ,,at ,,the ,,phonograph ,a ,,concert ,,at ,,home ,,to possess a gramophone or phonograph is to be already furnished with the means of giving a very successful and pleasurable entertainment4 ,there are so many 8entertainments0 that do not entertain1 and so many 8amusements0 that do not amuse1 that it is a distinct relief to know where to turn when a mixed party of guests have honored you with their presence4 ,with the number of gramophones1 phonographs1 talking-machines and zonophones now on the market1 it is not the object of this chapter to specialize any particular make or type of article4 ,as in most things1 quality means expense1 and there is little use in hoping for fine results from a cheap machine4 ,any respectable dealer will give useful advice as to the type of gramophone worth buying1 and it must be left with you to make your own choice4 ,presuming you have obtained your machine and accustomed yourself to the manipulation of its various parts1 the next point to be considered is how a successful programme may be carried out for an entertainment4 ,in nothing1 perhaps1 is that old adage that 8tastes differ0 so true as in music4 ,one person may shiver with disgust at everything but ,bach1 whilst her neighbor probably can appreciate nothing but old ballads2 or whereas paterfamilias beats time ecstatically to the familiar old pieces of ,verdi and ,rossini which he remembers from his boyhood1 his cultivated son is impatient for something out of 8,elektra40 ,now it is the business of the entertainer to satisfy and please all these people--to send none away empty1 but to make each person feel what a pleasant evening he or she has had4 ,whilst fully recognizing the difficulty of producing this result1 it is hoped that the following hints may serve to render the construction of a catholic programme a little easier than would at first appear4 ,records are of two kinds--instrumental and vocal4 ,by blending these successfully a very charming variety can be obtained which will materially assist in keeping the programme from lapsing into sameness4 ,commence with a stirring overture or a rousing march that will set the feet of your audience itching to mark time4 ,avoid anything dreamy or languorous2 let their attention be attracted by a bold stroke1 by the rattle of drums and the blaring of cornets and trombones4 ,sousa's marches1 the 8,stars and ,stripes0 for instance1 are admirable pieces to start the evening with1 arousing the attention and stirring the blood of every healthy person in the room4 ,having now excited the interest of your audience1 give them some vocal music4 ,choose a good quartette of well-known singers in a selection or song from some up-to-date opera1 or even from one of the old ,italian favorites4 8,the ,barber of ,seville10 8,la ,bohme10 or 8,la ,tosca10 all provide very fine quartettes4 ,the next piece might be a good instrumental solo1 on violin1 'cello1 piccolo or clarionet4 ,let it be short and characteristic2 preferably a piece fairly well known to the majority of your audience4 ,at this point it may be remarked that people invariably like hearing what they already know4 ,the gramophone is more generally appreciated when it reproduces a song or piece of music that the audience has heard before2 whilst the machine is scarcely suitable for the introduction of wholly new music4 ,of course it is impossible to form an entire programme on these lines1 but when making the selection of records1 if you bear this fact in mind it will save you from obtaining a number of outlandish pieces1 if one may so style them1 which the majority of your company has never heard before and will be little likely to wish to hear again4 ,after the instrumental solo1 it will be suitable to have a vocal solo--say a soprano4 ,again1 select a good artist and a good song1 for it is at this point that your fiercest critics will be upon the lookout4 ,do your best to disappoint them of their prey by having none but the best singers2 and only then at their very best6 ,,humorous ,,songs ,with a mixed company humorous songs are usually appreciated1 and one may be very well introduced at this point4 ,the greatest care must be exercised in avoiding anything that the most squeamish person might think objectionable4 ,the number of perfectly harmless and refined comic songs is great1 but unfortunately the number of vulgar songs is greater4 ,accept nothing1 therefore1 that you have not heard yourself and know to be perfectly suitable4 ,a good piano solo may now be very serviceable1 or even a piano and violin duet4 ,a piece of ,chopin or ,schumann1 a short piece of ,godard1 or the like1 is sure to be appreciated4 ,the most carping of critics will be unable to find fault with the execution of ,paderewski1 ,hoffman1 or other great pianists1 all of whose records are easily obtainable4 ,a popular item from one of the current operas or musical comedies will then be acceptable4 ,if the works of ,sullivan are too antiquated1 records of the more recent pieces recently running at the theaters can easily be had4 8,our ,miss ,gibbs10 8,the ,dollar ,princess10 or the 8,arcadians0--all will help to furnish you with some variety in the programme4 ,choose a favorite that will bring up pleasant recollections to all who have seen the original play4 ,a tenor and bass duet may follow the above admirably1 something rather pathetic--a love song or the like4 ,the task of making a choice amongst so many songs of this class would be invidious1 and it is left to the taste and opportunities of the entertainer to select what seems best for the occasion4 ,it is now time for another piece of orchestral music1 and a good waltz is suggested--8,the ,merry ,widow10 or something of that kind1 played by a good band1 and of a rather catchy nature4 ,if you divide the entertainment into two parts1 the familiar intermezzo of the 8,cavalleria ,rusticana0 makes a very suitable overture for the second part4 ,obtain it on a good orchestra1 and not as a piano or violin solo4 ,failing this any of ,puccini's overtures are good for such an occasion4 ,the second part of the programme should be constructed on very much the same principles as the first4 ,a few classical pieces can be introduced--,wagner and ,grieg1 ,schubert and ,elgar1 and similar contrasts4 ,tenor1 bass1 soprano and contralto solos should be fitted in between the heavier items1 whilst instrumental solos are generally highly appreciated amongst really musical audiences4 ,do not let the selections be too long1 however4 ,before closing the entertainment with 8,the ,star ,spangled ,banner10 have a good orchestral waltz to put every one in good humor4 ,,general ,,arrangements ,and now for a few hints as to the actual performance4 ,do not be too ready to give encores4 ,many people really dislike to hear a thing twice1 and unless you see there is a very general desire amongst your audience for a repetition1 pass on to the next item immediately4 ,have the seats comfortably arranged1 and see that every one is seated before beginning your programme4 ,copies of the programme should be handed to each person present1 and the name and number announced before starting the machine4 ,be careful that no hitch occurs in the arrangements4 ,remember that the greatest of artists can be called to your assistance--,caruso1 ,melba1 ,patti1 ,albani1 ,tamagno 7who though dead yet sings71 ,constantino1 ,tetrazzini1 and numberless other great singers and musicians are at your beck and call1 ready to sing to your friends or to exert their greatest talents on your behalf4 ,avail yourselves of them unsparingly1 and you cannot miss success4 ,a ,sunday programme is no more difficult to arrange4 ,magnificent records of the 8,messiah10 8,elijah10 and many other great oratorios can be obtained1 whilst numberless hymns and anthems are possible to the gramophone1 sung by some of the finest choirs4 ,with these hints there should be no great difficulty in making a programme that will prove enjoyable to a mixed audience4 ,they are1 however1 but hints2 to give exact instructions would be impossible4 ,the selection1 even upon the lines sketched out in this chapter1 must be individual and adapted to the more immediate requirements of your company1 and in consequence no fixed rule for choice can be given4 ,,chapter ,,xiii ,,musical ,,glasses ,a ,,great ,,inventor',s ,,hopes ,a ,,hundred ,,and ,,fifty years ago the fashionable society of ,london went mad over musical glasses4 ,when the cloth had been removed and the company were seated at the polished table1 discussing the dessert and enjoying the rare old port1 it was considered a great attainment1 after having partially filled the finger-bowls1 to be able to extract music by casually rubbing a finger around their rims4 ,strange as it may seem1 even the great composer ,gluck did not consider this musical trick beneath his genius1 and used to pride himself upon the skill he had acquired in this kind of performance4 ,mozart composed a song to be played in this manner1 and many famous musicians devoted their energies to perfecting a branch of the science which they considered to be full of promise4 ,even ,benjamin ,franklin turned his genius to the subject1 and after many experiments succeeded in inventing an apparatus called a ,harmonica1 which he hoped would take its place amongst the recognized musical instruments of his day4 ,from various causes1 which shall be explained later1 this invention was never attended with the success its author anticipated4 ,considerable knack is required to obtain a clear note from a glass4 ,a fine finger-bowl1 preferably uncut1 or a champagne glass1 must be partly filled with water1 and the performer should then damp his forefinger and also wet the rim of the glass4 ,if the finger now be passed lightly but firmly round a portion of the rim1 after a few touches a clear ringing sound will be produced4 ,if at first this is difficult to obtain1 pass the finger several times in one direction--e4g4 from right to left1 and then reverse from left to right4 ,having done this for a few seconds1 the glass will1 in all probability1 begin to sound4 ,as has been said1 quite a knack is requisite to perform this with any success1 but the beginner should not be discouraged if failure attends the first few attempts1 as1 after a little practice1 which seems to produce nothing but a sad groaning noise1 the glass will suddenly begin to ring4 ,having devoted a little patience to learning the exact touch1 the performer will find that the slightest movement of his finger produces the desired note4 ,,little ,,water ,,low ,,note ,the note given out depends entirely upon the amount of liquid in the glass4 ,the less water the lower will be the note2 the more water the higher it will be4 ,therefore taking eight glasses1 or fine finger-bowls1 and filling each one to a different level with water1 a complete octave can be obtained4 ,the amount of water to be placed in each depends entirely upon the size of the bowl and the texture of the glass1 and must therefore be determined by the performer himself4 ,a keen ear will soon enable him to get the glasses thoroughly in tune1 and they can then be arranged before him in the order of the notes in the scale4 ,for those who desire to attain proficiency in this art1 it would be well to color the water distinctively in each glass1 in a manner similar to the following3 #a4 ,c clear #b4 ,d red #c4 ,e blue #d4 ,f yellow #e4 ,g green #f4 ,a purple #g4 ,b orange #h4 ,c black 7,see ,fig4 #a47 ,by this arrangement the performer can tell at a glance which glass he must touch to obtain the note required4 ,this is more especially applicable to beginners1 for1 after some practice1 the relative positions of the glasses become fixed in the mind1 and he knows instinctively where to turn for whichever note is wanted4 ,,half-,,notes ,half-notes can be made by adjusting the amount of water1 which can be colored accordingly2 but for an ordinary entertainment the octave will be found quite sufficient1 and at any rate to begin with1 will require all the musician's attention4 ,when he can play quickly and correctly with his first eight glasses1 he can introduce half-notes1 but it is very unwise to start with too many vessels1 for it will give both him and his audience far greater satisfaction to hear eight glasses played well than to hear a larger number played indifferently4 ,an important point to remember is to keep the finger and the rim thoroughly wet4 ,if this be borne in mind1 the notes will come much more easily and clearly1 whilst the disagreeable droning sound will entirely disappear4 ,care must also be taken to see that the glasses are steady on their bases1 as1 in the case of champagne glasses1 especially1 they are liable to tip up under the pressure of the finger4 ,with regard to the music suitable to musical glasses1 it has already been mentioned that ,gluck and ,mozart composed songs for this class of performance1 but the beginner is not recommended to attempt these until he is very skillful4 ,as some time will elapse before he can play even the scale with ease1 perfectly simple music should be all that he tries to learn at first4 ,when such easy1 although somewhat hackneyed1 pieces as 8,the ,blue ,bells of ,scotland0 and 8,annie ,laurie0 have been mastered1 he can try more advanced works4 ,illustration3 ,,fig4 #a4--,showing finger-bowls containing various colored waters at different levels1 each level indicating a different note4 ,many attempts have been made to discover some means of producing the sound other than by rubbing the finger over the rim of the glass4 ,violin bows and other similar contrivances have all proved ineffectual4 ,it would seem that the texture and surface of the human skin are alone suitable for this purpose1 and nothing else has proved successful4 ,this is the reason why musical glasses have not become more common1 for the continual rubbing of the wet finger over the surface of the glass becomes after a time somewhat unpleasant4 ,however1 this hardly applies to the short period that an ordinary performer would devote to an entertainment4 ,yet such was the reason that caused the failure of ,franklin's instrument4 ,the following few bars of music1 being the opening phrases of a well-known song1 will prove very suitable for glass music1 especially when played at the dinner-table after the dessert has been discussed4 ,to simplify the matter for those who are not familiar with the usual notation of music1 the notes are given by name1 thus enabling any one to pick them out with ease3 ,e1 ,e1 ,e1 ,f1 ,f1 ,g1 ,f1 ,e1 ,d1 ,e1 ,f1 ,g1 ,c1 ,f1 ,e1 ,d1 ,c4 ,,chapter ,,xiv ,,hand-,,bell ,,ringing ,a ,,sweet-,,lipped ,,friend ,,there is something vital in the ordinary bell that dominates all of us4 ,it is an important factor in our lives4 ,the railway bell's clamor reminds us that haste is needed to catch the departing train4 ,the dinner bell tells that the meal is ready for our consumption4 ,the church bell1 the wedding chime1 the fire bell1 the tolling funeral bell1 are all our faithful monitors and guardians1 but the exquisite voice of the hand-bell is the sweet-lipped friend that wooes us in our hour of ease4 ,hand-bell ringing is full of charm and interest1 and it is astonishing of what changing harmonies these instruments are capable when manipulated by dexterous hands4 ,undertaken with perseverance and patience to overcome its rudimentary difficulties1 this form of campanology may be achieved with great success4 ,the first thing to do is to go to a well-known firm to secure the necessary bells1 which must be perfectly in tune4 ,the beginner needs only a few1 as for some time he must essay only the simplest tunes4 ,the best hand-bells are somewhat expensive1 but to buy cheap inferior instruments is false economy and most unsatisfactory1 for sonorousness and sweetness of tone depend upon purity of metal and perfect balance4 ,those known as the 8four-in-hand0 consist of four hand-bells attached by means of a leather handle to one base4 ,this enables the player to manipulate eight bells at once4 ,of course1 by making careful inquiries1 or by advertising1 good second-hand sets of bells can be bought quite cheaply4 ,it is advisable that the bells be tuned to old ,philharmonic pitch1 ,c--#edj1 and they should be fitted with improved pegged clappers4 ,the first step undertaken by the novice at bell-ringing is to consider and study the construction of the bell4 ,it is surmounted by a loop of leather1 and the hinge of the clapper is so made that it can sound only when swayed towards the flat part of the handle4 ,the part of the clapper that touches the bell is composed of felt and not of metal1 but this alone is too light a material for the springs1 which1 it has been discovered1 resist it4 ,to overcome this difficulty it is necessary that the felt should be weighted4 ,this achievement needs skill and experience1 for the springs and weight naturally vary according to the size of the bell1 and are in exact proportion1 small springs being necessary for the small bells and large springs for the large ones4 ,,bell-,,ringing ,,companies ,bell-ringing companies consist of five players1 and these are generally composed of two ladies and three gentlemen2 all should be physically strong and possessed of the sense of strict notation and music-reading ability4 ,the ladies generally undertake the alto and tenor parts4 ,the strongest player manages the bass bells1 and the most reliable and cool-headed of the party the treble1 which is divided into first and second1 and is extremely important1 needing no small amount of agility and nerve1 especially in difficult and intricate passages4 ,there are many reasons why five players are advisable4 ,four could not manage the full harmonies of treble1 alto1 tenor1 and bass1 while more than five are apt to get in each other's way1 besides taking up too much space on a small platform in a drawing-room4 ,a long table1 covered with some heavy material1 such as thick baize or half-a-dozen pairs of good blankets1 is essential4 ,blankets are the best4 ,they should not be spread out or divided1 but folded upon the surface1 and then concealed by a cloth4 ,this keeps the sound from vibrating through the wood of the table1 as the bells are placed upon it1 at the termination of each note4 ,the bells must be in easy reach of the ringer1 and the company just formed will do well to chalk lines upon the cloth to divide their positions from that occupied by the neighbor's bells4 ,tenor and alto players should occupy the center of the table4 ,their work1 compared with that of bass and treble1 is light and subordinate1 and this is why those parts may be undertaken by ladies4 ,the second treble stands at the right end1 next to the alto1 and the first treble and bass occupy the head and bottom of the table1 as shown in ,fig4 #a4 ,immediately after the bell is used the player must be careful to replace it in its former position in the chalked space1 or confusion and discord will be the result1 as it is almost impossible to remember the position of the bells unless this plan is strictly adhered to4 ,to pick up the wrong bell will lead to disaster4 ,audience4 ,the ,table4 ,first ,bells not in use4 treble ,player ,bass bells4 ,player bells4 ,second ,tenor bells4 ,alto bells4 treble bells4 ,player ,player ,player ,,fig4 #a4 ,many plans have been tried in which to place the bells so that each player may identify the different bells to be used4 ,perhaps the simplest and most usually adopted is to arrange them in rows upon the table4 ,supposing the number of bells required to be fifteen1 place them in three lines of five4 ,for the first row employ the letters of the alphabet2 for the second1 even rows of figures2 for the last1 single odd figures1 thus3-- ,a ,b ,c ,d ,e #b #d #f #h #aj #a #c #e #g #i ,,fig4 #b4 ,this plan should be learnt1 and the position of the bells be as fixed and relative to each other as the notes of the keyboard of the pianoforte4 ,at first the players stand with the left side turned slightly to the table1 but frequently they will be obliged to change their positions1 sometimes turning to the right and sometimes facing the table4 ,the bell should never be placed with the flat side of its handle towards the manipulator1 for in this position it cannot be struck1 however much waved4 ,in holding the bell1 the thumb must be pressed on the rivet1 the fingers gripping the flat side of the handle4 ,when lifting the bell1 the handle should slope towards the body1 thus forcing the weight of the clapper to swing to the side opposite to that upon which the strike sounds4 ,the bell1 being lifted in this position1 is not struck1 the hand changing its inclination from left to right4 ,in so doing1 the bell is turned to an opposite angle1 the clapper falls1 and the strike is achieved by a slight impetus of the arm or wrist4 ,the student should practice lifting and striking the bell with alternate hands1 until it is as easy to manage it with the left hand as the right4 ,when he has mastered this difficulty he may try the working of two bells--one in each hand1 lifting one bell while the other is struck1 taking care1 however1 always to place them in such a position that no turning or twisting of the handle is necessary before action1 as this involves loss of time1 and makes him liable to constant blunders when he takes part in a tune4 ,the length of the table varies according to the number of bells required and the style of music undertaken4 ,forty-four bells are sufficient for most simple melodies and exercises1 and for them the space required is about #aa feet by #e feet4 8,,flourishing0 8,flourishing0 the bells is impossible in quick music1 and is only undertaken in slow passages1 when the notes are to be sustained4 ,in working the bells alternately1 the dying vibration of one bell must never be allowed to mingle with the next1 for this is even more discordant than when1 in pianoforte playing1 a pedal is kept down too long1 and makes the vibration of one chord jar into the next4 ,to prevent this1 the vibrating bell should be placed on the table immediately before the other is about to be struck1 but not in such a manner as to rob the note of its proper value4 ,in a staccato passage1 on the contrary1 the bells should be set quickly on the table as soon as they have sounded4 ,in practicing the ringing of alternate bells1 make each vibration the value of a semibreve1 then a minim1 and lastly a crotchet1 until perfect dexterity is achieved1 thus3-- ,illustration ,when the trebles are divided1 the first treble plays the notes turned upwards1 and the second treble the downward tailed--thus1 in the scale of ,c3-- ,illustration ,the notes should follow without any break as continuously and smoothly as though one player were ringing the scale4 ,ringing two bells in each hand is difficult of accomplishment4 ,in order to do this successfully1 one bell is lifted and gripped in the right hand by the first and second fingers and struck downward4 ,then another bell is inserted between the thumb and first finger1 the flat part of the handles at right angles4 ,the first bell is again struck down1 when it will be discovered that the second bell remains silent until it is slightly turned from left to right by a quick wrist movement1 while in its turn the first bell gives no sound1 simply because it needs a downward stroke1 and the side stroke1 which gives voice to the second bell1 is in a contrary direction4 ,extreme care and perseverance are necessary before these two bells can be properly manipulated1 and a great number of exercises which the student can construct for himself should be practiced4 ,chromatic notes present great difficulty1 especially in more advanced music1 and can only be mastered gradually4 ,in simpler passages1 when they occur1 the student should place the chromatic bells in the back row in the order in which they are to be used4 ,if his chromatics are arranged 7#a71 7#b71 7#c71 7#d71 7#e71 and he has memorized their position beforehand1 he will have no difficulty in finding them as they are required4 ,a company of bell-ringers should have a large rpertoire of music of as much variety as possible4 ,many of the pieces which are most suitable are somewhat hackneyed1 and yet are cordially welcomed when musically treated1 and other works can always be arranged for playing4 ,tone1 expression1 and phrasing are all-important4 ,the rhythm of sounds must not alter with the changing of the bells4 ,it must continue in a sweet flow of music1 just as if one hand were manipulating every bell4 ,the jerk1 the overlong pause1 or the lack of tone in one player's work1 has power to mar the whole performance4 ,in large orchestras constant playing together is necessary for proper union and harmonizing of sounds1 and this is equally essential in bell-ringing4 ,it must ever be remembered that 8practice makes perfect10 and the blending of the bells needs unending patience and persistence4 ,for beginners such pieces as 8,the ,minstrel ,boy10 8,she ,wore a ,wreath of ,roses10 8,home1 ,sweet ,home10 8,the ,last ,rose of ,summer10 and the ,national ,anthem prove stepping-stones to enterprises of a more complicated nature1 and should be carefully studied1 for 8vaulting ambition0 is quite out of the question in the art of hand-bell ringing4 ,,chapter ,,xv ,,the ,,art ,,of ,,drawing-,,room ,,singing ,,correct ,,breathing ,,and ,,voice ,,production ,illustration3 ,,fig4 #a4 ,a4 ,hard palate4 ,b4 ,soft ,d4 ,uvula4 ,e4 ,tongue4 ,,one of the most delightful sounds in the drawing-room is the music of the human voice1 uplifted in song to a soft pianoforte accompaniment1 if1 of course1 the voice be tuneful1 easily produced1 and sympathetic1 and the breathing taken without effort4 ,the first steps to be considered in singing are 7#a7 correct breathing1 7#b7 voice production1 7#c7 clear pronunciation4 ,the tongue should be hollowed behind the teeth1 not rolled up in a ball1 thus closing the vocalist's throat4 ,the uvula1 so called because of its supposed likeness to a grape1 should be lifted to the roof of the soft palate1 the mouth presenting a hollow open chamber1 through which the notes issue in clear1 bell-like tones 7,fig4 #a74 ,the beginner will find this a difficult matter1 and effort and will are needed to keep the tongue down and the uvula up4 ,the position of the former may be demonstrated by means of the handle of a teaspoon pressed against it4 ,the tongue will prove rebellious until practice makes it perfectly easy and natural to subdue it in the necessary manner4 ,in breathing1 inhale a long slow breath through the nose only1 keeping the mouth closed4 ,the air should originate in the upper part of the diaphragm1 and be held until the ribs are slowly inflated1 balloon fashion1 when it should be exhaled through the open mouth1 gently and without effort until the ribs contract4 ,never push the ribs to lengthen the expiration of breath4 ,a good plan to insure easy and quiet breathing is to count slowly to ten while the chest box is being inflated1 and also when the air is being exhaled4 ,in this manner the breath will be prevented from coming and going in spasmodic gasps and jerks4 ,the number ten may be increased gradually to twenty or thirty1 until the student is able to produce breath sufficient for the phrase vocalized4 ,regular breathing exercises should be taken every day before singing1 the hands being placed upon the ribs1 in order to feel and insure their gradual rise and fall4 ,an anatomical study of the throat1 windpipe1 and lungs should be made 7,fig4 #b71 and this will considerably help the student to understand the difficult mechanism of voice production4 ,illustration3 ,,fig4 #b4--,throat1 windpipe1 and lungs4 ,practice gradually adds new notes to the voice1 but the young singer must be careful not to strain the vocal organs by endeavoring to sing high and low notes before they are naturally developed4 ,concones and every variety of singing exercises should be practiced before a song is undertaken4 ,over-practice is harmful4 ,vocal organs should never be fatigued or unduly taxed1 and half-an-hour's practice is ample--indeed1 more valuable than an hour at a stretch4 ,singing directly after meals should be avoided1 and the throat must not be coddled in furs or compressed by high collars4 ,,dainty ,,modern ,,songs ,in drawing-room singing1 four or five-versed lyrics are not nearly so charming as the dainty modern songs of two or three verses1 and these must never be undertaken until the student has reached a proper understanding of phrasing1 breathing1 and expression4 ,many singers prefer to accompany themselves1 but this has its disadvantages1 as the voice is far better produced when the vocalist is standing4 ,the position should be easy and natural1 the head erect1 but not lifted back1 as this contracts and narrows the larynx4 ,while the singer should enter into the idea of the composer1 she should have her own conception of the song1 and endeavor to give it1 as far as possible1 her own individual expression1 her voice being colored by the cultivation of her soul2 otherwise the most perfect vocalization will fail to move the audience4 ,these elementary rules hold good for the male as well as the female singer1 and cannot be too carefully considered4 ,a further important factor in the art of singing is the hygiene of the human body4 ,the singer must cherish physical health4 ,plenty of outdoor exercise should be taken4 ,indulgence in drinking and over-eating is injurious4 ,to practice when fatigued1 or indisposed1 is to risk permanent harm to the voice2 and to sing when suffering from a cold is extremely foolish4 ,at such times1 breathing exercises may be taken with advantage1 as they clear the lungs and help towards recovery4 ,lady singers are sometimes inclined to wear gowns which do not allow them sufficient room for breathing purposes1 and they will often willfully sacrifice the well-being of their voices to be fashionably attired4 ,in order to perform their functions properly1 the lungs and ribs must have space and freedom from pressure4 ,too narrow bodices are almost as pernicious to the voice as tight lacing1 for these seriously retard the breathing1 and what in loose garments is natural and easy of accomplishment1 becomes an obvious struggle1 which fatigues the singer and renders her voice thin and poor in quality4 ,this is often the reason why a vocalist is seen to lift her shoulders and pant audibly during her song1 thus marring her conception1 which may be1 in every other particular1 delightful and artistic4 ,many singers with weak lungs find voice production extremely beneficial1 for proper breathing and careful practice do more to strengthen a delicate chest than any bottled remedies4 ,the vocalist should never stoop 7for this narrows and compresses the vocal organs71 and in singing the first care should be to see that the shoulders are well thrown back1 although not strained to an unnatural position4 ,in practicing1 it is beneficial to keep the arms folded behind the back1 placing the hands over the elbows1 and taking care not to thrust the head forward4 ,this will keep the chest expanded1 and the body easily upright4 ,,the ,,value ,,of ,a ,,good ,,accompanist ,when performing1 it is necessary to be equipped with a good accompanist--one who understands the art thoroughly1 and refrains from banging out the notes as if the voice of the singer were merely the background to his own performance4 ,the three qualities essential in an accompanist are sympathy1 artistic sensibility1 and discernment to understand the temperament and conception of the vocalist4 ,an inefficient accompanist has power to transform an artist's highest and most conscientious endeavor into irritability and inability to render individual expression4 ,pianists frequently are highly recommended to singers because of their gift of sight reading4 ,now this is a very valuable and important accessory1 but there are many excellent sight readers who have no idea of that delicate and tactful manipulation of accompaniment found in the true artist1 and who1 even though they play correctly the most difficult music placed before them1 sadly fail because of inadequate comprehension of the needs vital to the singer4 ,to hustle the singer is almost as heinous a fault as to lag behind4 ,some accompanists convey the fatiguing impression of a brake applied to a carriage wheel1 and the artist feels as if she were pulling the pianist through the song1 while others play as if they were racing to catch a train1 and there is not a moment to lose4 ,both these defects are equally fatal4 ,the pianist on these occasions should neither be independent nor dependent4 ,she or he must realize that1 although the pianoforte is subordinate1 it is extremely important because of its power to influence the mind and conception of the singer1 who should feel an electric tide of sympathy and support flowing from the pianoforte and carrying the voice on a wave of sound4 ,an accompanist should be chosen with care1 rehearsed with frequently1 and must possess individual qualities in common with the temperament of the singer4 ,a sense of reliability and strength conveyed will do much to put the most nervous vocalist at ease1 and give that tranquility and self-possession without which no singing is successful4 ,rehearsing before a mirror is of great assistance1 for it is only in studying the reflection of one's features when singing that one is able to check nervous mannerisms and facial contortions4 ,pains must be taken to open the lips adequately wide1 for the mouth is the mold2 the voice1 the molten gold2 and1 if the mold is twisted or narrowed1 the gold will be warped and flawed in quality4 ,the simpler the manner of the singer the sweeter the song1 for the affectation sometimes indulged in1 the airs and grimaces commonly known as 8side10 which some singers see fit to employ1 are as unsightly as a mud-splashed window-pane4 ,they are often also the insignia of the incompetent and the ignorant1 for it is never the true artist who thus obtrudes herself on her hearers4 ,of course1 in some cases apparent affectation really originates in extreme nervousness and hyper self-consciousness4 ,in such cases the singer must battle patiently with this embarrassing trait until it is overcome1 for unless this is accomplished one's singing can never be a joy and delight4 ,in order to be successful1 a song must be delivered harmoniously2 to voice sweet exquisite words accompanied by facial contortions is to make a pitiful caricature of your performance4 ,take care1 therefore1 that your attitude1 features1 and expression combine to carry the emotion conveyed in your voice4 ,study unity and repose4 ,endeavor to forget your own identity for the time being1 considering yourself only as the cage that holds the nightingale4 ,although the singer should be perfect mistress of the songs forming her repertoire1 she should always deliver them freshly and spontaneously4 ,there is an old saying1 8,familiarity breeds contempt10 and1 notwithstanding the fact that this is usually said of individuals1 it may be applied very truly to the relationship that exists between singer and song4 ,,why ,,singers ,,often ,,fail ,it is very usual for an ambitious student to be consumed with conscientious determination4 ,she makes up her mind to learn a difficult song1 and she works assiduously at it day after day1 week after week1 until she knows every word and every note4 ,by-and-by she performs it proudly to a select circle of friends1 and she is surprised and discouraged to find that all her keen enthusiasm for the song has gone4 ,it does not seem to suit her voice2 the words have lost meaning4 ,the emotion she at first poured into it has disappeared1 and she is thoroughly disheartened1 and is quite unable to find reason or remedy for her indifference4 ,an experienced artist would be able to show that student in a moment wherein her failure lay4 ,she had allowed herself to become too familiar1 and familiarity had bred contempt4 ,the song doubtless needed practice1 but not incessant grinding and toiling4 ,one cannot hammer the arts into one's head as if they were nails being driven into wood4 ,the subtle essence1 the ephemeral spirit of the song will still evade the singer4 ,to catch that1 and to reveal it to others1 the work must be as pure as the widespread petals of a flower4 ,so1 when listlessness replaces your high enthusiasm for a song with which you have become too familiar1 do not be disheartened1 but put it away1 and determine not to touch it or hear it sung until your first eagerness to master it is reborn4 ,then1 and then only1 take it out and sing it1 and you will be astonished at the result2 for having mastered the technicalities you are able to pour your heart into your words1 and the result amazes you and delights your hearers1 who think you have never sung anything better or more suitable to the pitch and timbre of your voice4 ,,chapter ,,xvi ,,drawing-,,room ,,recitals ,,the ,,keynote ,,of ,,success ,illustration3 ,,fig4 #a4--;,correct position for reciter4 ,illustration3 ,,fig4 #a;a4--,the stiff1 unnatural position4 ,,it is frequently and quite erroneously supposed by the uninitiated that1 given a good memory and a pleasing voice1 the young would-be elocutionist may become highly successful in the art of reciting4 ,it is only the painstaking1 experienced artist who realizes that these attributes are but as the husk to the nut1 the calyx to the bud4 ,cased in its shell is the kernel1 and folded in its green sheath are the petals of the flower4 ,so1 likewise1 the voice and power of memorizing must be but the covering of numerous other qualities1 attained only by perseverance1 judicious practice1 and that artistic sense of fitness without which all attempts to excel are in vain4 ,it is impossible to play a symphony on the pianoforte before grinding away at the rudiments of music1 and no one may build a house without mastering the elements of architecture4 ,yet the difficult art of reciting is often approached by a novice1 who1 having pounded some poem or prose into his or her memory 7reciting is usually a feminine qualification7 plunges into it with all the self-satisfaction of ignorance1 and pains or fatigues her listeners by her flagrant and unsympathetic rendering of a masterpiece1 which1 in experienced hands1 would be an exquisite piece of work1 something to be remembered and dwelt upon with considerable pleasure4 ,the speaking voice1 properly treated1 is an instrument of exquisite music1 capable of as many shades of feeling and power as the pipe organ4 ,before all else the voice must possess sympathy1 sweetness1 power of expression1 and naturalness2 and1 unless these qualities are governed by a high sensibility1 keen intuition1 and common sense1 they are futile4 ,the wing of the voice is the breath4 ,unless this is elastic1 easily and naturally produced1 the voice is like a crippled bird1 or similar to a musical instrument with broken strings4 ,thus the cultivation of voice and breath is the most powerful adjunct to good reciting1 and this only comes by constant practice4 ,in practicing1 the reciter should stand in an easy attitude 7,fig4 #a7--;erect1 but not stiffly upright1 and with muscles neither tense nor unduly lax1 as in ,fig4 #a;a4 8,there are no straight lines in ,nature40 ,this is an invaluable motto for the student4 ,the best method of gaining a clear and flexible voice is to read aloud some paragraph or verse softly at first1 studying the meaning and sound of every word spoken1 and endeavoring to express its phonetic quality1 not only with the lip1 but with the eyes4 ,a mirror is an excellent help 7,fig4 #b74 ,it will show the beginner the difference between facial expression and facial contortion 7,fig4 #b;a74 ,illustration3 ,,fig4 #b4--;,facial expression4 ,illustration3 ,,fig4 #b;a4--,facial contortion4 ,,the ,,speaking ,,register ,the paragraph may be repeated in a gradual crescendo until the full power of the voice is used1 always taking care to avoid harsh and stridulous tones1 and not strain or fatigue the throat4 ,when the student has accomplished this to her satisfaction1 she should allow her voice to die gradually away1 until it is almost a whisper1 but her tone must always be clear and round in quality4 ,this method will bring many different shades of inflection and feeling into the voice1 and she will be astonished at the notes she will add to her speaking register4 ,a good exercise is to make out a list of abstract words1 and1 concentrating attention upon them1 endeavor to convey their full meaning with the aid of the mirror4 ,such sentences as3 8,i love you dearly10 8,my hate is too deep for words10 8,my scorn is intense10 8,my tender concern10 8,my pity10 8,my contempt10 8,my indifference10 8,my desire10 8,my despair10 and other impromptu phrases may be spoken in different tones1 united1 with eye and features1 to express the qualities voiced4 ,the student need not despair because she has a bad or untrained memory4 ,the power of memorizing verse or prose only requires diligence and concentration to become facile and natural4 ,exaggeration1 affectation1 melodrama1 and meaningless gesture should be avoided1 for there is nothing so appealing as simplicity4 ,before reading a poem aloud1 the reciter should master the meaning of the story it sets forward4 ,she must remember that she is about to paint a picture in words4 ,to do this effectively1 she must avoid daubing in lurid colors4 ,she will find it helpful to regard her mind as her palette1 her voice as her brush1 and her color tones as sympathy1 tranquillity1 gentleness1 optimism1 faithfulness1 and clearness of expression4 ,she should take as much pains when practicing as when performing before others1 endeavoring to criticise her mode of speech and expression just as though she were listening to some one else's recital4 ,the following simple rules will prove of great assistance3-- #a4 ,breathe easily1 inflating the lungs slowly1 and without effort or sound4 #b4 ,speak distinctly and clearly1 and avoid shouting4 #c4 ,sound the consonants1 but do not hiss them4 #d4 ,sound the syllables distinctly1 but without undue emphasis4 #e4 ,sound the definite article without giving it too much importance4 #f4 ,read brightly and naturally4 #g4 ,avoid monotony3 graduate tones by feeling4 #h4 ,understand clearly and sympathetically what is studied4 #i4 ,read with earnestness1 but without heaviness4 #aj4 ,mind pauses and emphasis4 ,here is an example from 8,david ,copperfield03 8,here is our pew in the church4 ,what a high-backed pew6 ,with a window near it1 out of which our house can be seen1 and is seen many times during the morning's service by ,peggotty1 who likes to make herself as sure as she can that it's not being robbed1 or is not in flames4 ,but1 though ,peggotty's eye wanders1 she is much offended if mine does1 and frowns to me1 as ,i stand upon the seat1 that ,i am to look at the clergyman40 ,in this passage the reciter is for the time being a little boy endeavoring to sit quietly in church and fix his eyes on the clergyman4 ,she must be simplicity itself in order to depict the ,david and his surroundings1 lending a sympathetic eye that probes the brain and heart of the child squeezed between his mother and nurse1 and she must see every detail as he describes it4 ,in order to do this successfully1 intuition is essential4 ,it will inspire the voice to a like comprehension1 with the result that her listeners will be able to see that little weary figure quite plainly4 ,thus1 in everything undertaken1 the student must learn to merge her personality into that of the man1 woman1 or child of whom she is speaking1 so that the words spoken seem indeed to fall from the lips of the characters portrayed4 ,,appropriate ,,gesture ,appropriate gesture presents difficulties1 and1 although occasionally a powerful aid1 it is more often a stumbling-block to the inexperienced reciter4 ,many otherwise excellent recitals have been marred by superfluous demonstrations1 which remind one forcibly of the action songs and recitations performed in a kindergarten1 whilst not a few reciters hedge themselves in with boundaries4 ,they will mention the sea1 and point to a horizon1 indicate distant hills1 wood and lake1 frequently forgetting their respective situations4 ,i have seen upon more than one occasion a reciter engaged in a ludicrous juggling of her scenery1 pushing the sea aside to make room for the hills1 and merging her forests in the lake4 ,this forgetfulness1 usually engendered by extreme nervousness1 renders an artist ridiculous4 ,how much better1 then1 to refrain from gesticulation1 unless she has mastered its intricacies4 ,in drawing-room reciting the voice must expand according to the acoustic properties of the apartment4 ,a good way of making the voice carry is to imagine it an india-rubber ball1 which is being thrown against the opposite wall4 ,this thought will gradually insure its elastic properties4 ,when reciting1 the eyes should be kept from roving among the audience1 nor should they be fixed in a strained1 glassy stare on the ceiling1 for they are too useful to the performer1 and will be needed to express different shades of thought4 ,if the reciter is nervous1 she should endeavor not to show it by twisting her fingers or moving her feet4 ,the best cure for this harassing affliction is to glance quietly at the audience before beginning to recite4 ,taken individually1 they will be found far from alarming4 ,after this1 a determined endeavor should be made to concentrate the mind on the artistic rendering of the recital4 ,illustration3 ,,fig4 #c4--,the epic radius1 or mental zone4 ,to many elocutionists1 costumes are a help1 enabling them to grip more powerfully the character portrayed4 ,in this case a certain amount of gesture is advisable1 but there are no hard and fast rules4 ,actions must be governed by discretion and common sense4 ,the hand may properly be called a second tongue4 ,as such it should be treated1 and1 to continue the simile1 should not be allowed to stammer behind or chatter meaninglessly before the reciter4 ,the hands and arms are capable of a vast amount of expression when properly used4 ,gesture may be divided into three classes3-- #a4 ,the epic radius1 or mental zone1 is the movement above the head and horizontal with the shoulder 7,fig4 #c74 ,these are sweeping and graceful1 not jerky movements1 indicating such sentiments as honor1 conscience1 awe1 veneration1 c41 and may be used with advantage in such lines as-- 8,great ocean6 strongest of ,creation's sons1 ,unconquerable1 unreposed1 untired1 ,that roll'd the wild1 profound eternal bass ,in ,nature's anthem1 and made music such ,as pleased the ear of ,god6 original1 ,unmarr'd1 unfaded work of ,deity4 ,from age to age enduring and unchanged1 ,majestical6 inimitable6 vast6 ,uttering loud satire day and night on each ,succeeding race1 and little pompous work ,of man6--unfallen1 religious1 holy sea40 ,in ,shakespearean recitals and other blank verse1 this epic zone may be used1 as1 for instance1 in such pieces as the choruses of ,henry ,v4 ,illustration3 ,,fig4 #d4--,rhetorical radius or moral zone4 #b4 ,the rhetorical radius1 or moral zone1 includes the movements of the arm from breast to shoulder and from the region of the heart 7,fig4 #d71 and may be used to appeal1 implore1 beseech1 express love1 hate1 fear1 contempt1 c41 as in ,queen ,katherine's speech in ,shakespeare's 8,king ,henry ,,viii410 ,act ii4 ,scene #d3-- 8,sir1 ,i desire you do me right and justice1 ,and to bestow your pity on me40 #c4 ,the colloquial radius1 or vital zone1 from below the waist 7,fig4 #e71 is used to express ordinary sentiments that do not emanate in the heart or higher intellect1 and may be used to give point to a simple1 everyday occurrence1 or narration1 as in-- 8,only a pin1 yet it calmly lay ,on the tufted floor in the light of day2 ,and it shone serenely fair and bright1 ,reflecting back the noonday light40 ,during the long winter evenings1 when amusements and entertainments are cordially welcomed in home circles and at friends' firesides1 the youth or maiden who is unable to play or sing1 may1 with a little care and practice1 provide a delightful item in the programme1 which will add considerably to the evening's enjoyment4 ,illustration3 ,,fig4 #e4--;,colloquial radius or vital zone4 ,an hour's regular practice a day will work wonders with the voice of these aspirants1 and there are many simple and exquisite poems that are easily committed to memory1 for the student is far more likely to succeed and give pleasure to others in memorizing at first only the simplest and shortest poems1 remembering always ,shakespeare's invaluable counsel to players3-- 8,speak the speech1 ,i pray you1 as ,i pronounced it to you1 trippingly on the tongue2 but1 if you mouth it1 as many of your players do1 ,i had as lief the town-crier spoke my lines4 ,nor do not saw the air too much with your hand--thus2 but use all gently2 for in the very torrent1 tempest1 and 7as ,i may say7 the whirlwind of passion1 you must acquire and beget a temperance that may give it smoothness 444 ,be not too tame1 neither1 but let your discretion be your tutor2 suit the action to the word1 the word to the action1 with this special observance1 that you o'erstep not the modesty of ,nature40 ,,chapter ,,xvii ,,the ,,art ,,of ,,whistling ,,methods ,,of ,a ,,famous ,,siffleur ,,there is no form of drawing-room entertainment which1 when well done1 is more interesting than whistling1 with pianoforte accompaniment4 ,below are embodied the views and methods of ,mr4 ,charles ,capper1 the famous ,english siffleur1 regarding this unique and attractive means of entertainment4 ,the great part of humanity knows nothing of that ability of piping and whistling so natural and melodious in the blackbird and thrush4 ,most of us have at some time or other put by a little of our bread-and-butter earnings in order to take a few lessons in learning to sing or to play the pianoforte or some stringed instrument4 ,but there are comparatively few who turn to whistling as a means of livelihood or as an accomplishment4 ,it is fortunate that this is the case1 for1 unless one possesses considerable natural talent1 it is mere waste of money1 time1 and endeavor4 ,whistling cannot be hammered into being4 ,it is only where real ability is possessed that the student may set himself to work and overcome its many difficulties1 and hope to achieve his best4 ,another gift equally essential is that of a good natural ear--an ear that instantly distinguishes and corrects the note which is a shade flatter or sharper than it should be4 ,it is a fact worthy of note that1 while an unusually high roof to the mouth is a disadvantage to the singer1 it is--so some medical specialists assert--a great gain to the whistler1 and perhaps this is the reason why it is so rare to meet skilled exponents of the art4 ,however1 it is common enough to hear in almost every grade of life the whistling that has never been cultivated4 ,for example1 in the early morning1 a few shrill tuneless notes float up to one's bedchamber from the area steps1 as a dairyman hands in the allowance of milk2 but this annoys rather than delights1 although it speaks eloquently of the human soul of the whistler4 ,when the boy whistles1 his mother knows he is well--in a good temper1 and contented with the whole universe4 ,the merchant1 stepping into his office1 may trill a few bars of 8,tommy1 make room for your uncle10 and the sound conveys volumes to the sharp-eared clerks1 who foresee a day of unusual calm and peace2 because a man suffering from spleen1 liver1 gout1 or toothache never so far forgets his agony as to whistle4 ,whistling invariably shows a light heart1 and perhaps the reason why the birds indulge in this pastime so freely is because they know nothing of the burdens that beset mankind4 ,,breathing ,,and ,,tone ,the most important qualities to be observed in whistling are production and control of breathing1 modulation1 purity and roundness of tone4 ,the method of breathing in whistling is exactly similar to that used in vocalization1 and can be taught by any good teacher of singing4 ,scales and exercises should be daily practiced with infinite care1--to keep the notes clear and of even pitch4 ,slurring or stumbling in a quick passage can be easily perceived--perhaps more so in the whistler than in the singer4 ,scales and runs should be undertaken1 slowly at first1 gradually increasing speed and tone until perfect flexibility is attained4 ,many a whistler capable of faultless execution fails to charm1 through monotony of tone4 ,this is a fault as common as it is serious4 ,whistling1 with practice and thought1 can be modulated in a far greater degree than either the flute or the piccolo1 and with much greater effect4 ,it is not enough to whistle a song correctly4 ,the student should first study and memorize the words1 so that he may express the tender pathos expressed in the song4 ,the whistler should pay as much attention to artistic rendition as the vocalist--if possible1 even more--because he cannot voice the words with which to appeal to the hearts of his hearers4 ,he is obliged to convey the sorrow1 or humor1 as the case may be1 without the utterances we recognize as the insignia of distress1 joy1 or love2 and his heart must be behind his notes1 and enter into them1 to win the spirits of the audience to comprehension and sympathy4 ,,suitable ,,solos ,whistling may be divided into two classes3-- 7#a7 ,the florid4--necessary in such solos as ,arditi's 8,il ,bacio10 which seems at first to the beginner to teem with insurmountable difficulties1 but which a little earnest practice will soon overcome4 7#b7 ,the sentimental4--,in this category are ,bishop's early ,english songs1 such as 8,bid me discourse10 8,tell me1 my heart10 8,should he upbraid10 8,lo1 hear the gentle lark10 8,love has eyes10 ,clay's 8,i'll sing thee songs of ,araby10 c4 ,all these songs make excellent whistling solos1 and are delightful when rendered with artistic sympathy and meaning4 ,all songs must be memorized4 ,the whistler cannot give necessary control to his breathing and production if he holds the music in his hand4 ,in practicing1 it should be placed on a music-stand1 and1 in performing1 must be note perfect4 ,his whistling must be so faultless in its conception that the audience must almost hear the words coming from his lips4 ,most of the solos forming the whistler's repertoire are well known and popular1 and the verses of such songs as 8,my mother bids me bind my hair0 are familiar wherever the ,english language is spoken1 so that all audiences are capable of interpreting the meaning of the sweet lilting notes4 ,when we listen to 8,the ,lost ,chord10 played on the organ1 we seem to hear the throbbing rhythm of the words just as if some spirit were singing them1 and so it should be in the whistling of ,spohr's 8,rose softly blooming10 and many another song which will doubtless occur to the student4 ,care should be taken not to whistle in too high a key1 as this spoils the quality of the tone1 rendering it thin and shrill4 ,the middle register contains better notes than the higher4 ,the piccolo is pitched one octave higher than the flute1 whilst the whistler's notes are said to be two octaves above the flute4 ,although the notes whistled are apparently very high1 when judged by the ear1 or compared with the pianoforte accompaniment1 they are not so1 in reality4 ,it is rare to find the extremely high or the extremely low whistler4 ,except in a very few cases1 all whistle in about the same pitch4 ,the most usual key is ,f or ,g4 ,in spite of the old dogmatic assertion about the 8whistling woman and the crowing hen10 there are more young lady performers in this profession than young men1 and very charming whistlers some of them are4 ,it is a remarkable fact that not infrequently an individual1 whose tonation is faultless in singing1 cannot whistle such a simple melody as the national anthem without coming to grief4 ,here are two useful points always observed by ,mr4 ,capper4 ,the first is never to laugh when performing4 ,the veriest novice knows that his risibilities must be well under control before he can whistle a single note1 so that it is essential for him--no matter what funny incident is noticed and appeals to him--to hold tight to his gravity4 ,the second is that lip-salves should be strictly avoided1 as they render the lips susceptible to cracks and cold2 besides1 they make a film which sticks and prevents clear whistling4 ,,chapter ,,xviii ,,bunkum ,,entertainments ,,the ,,cuckoo ,,of ,,society ,,it has been asserted that the noun 8bunkum0 is first cousin to the verb 8to bunk40 ,if so1 the dealer in bunkumisms disdains the connection until matters grow too hot for him at the end of a performance1 when1 as a last resource1 he hugs his relative gladly4 ,cupboard affection this1 and in order to shelter himself from the righteous wrath of the audience1 achieves a flying bunk from the platform4 ,the word 8bunkum0 is interesting4 ,it is defined in the dictionary as 8speech spoken merely to please one's supporters or constituents and secure their votes--mere talk40 ,it originates from 8,buncombe1 a district in ,north ,carolina1 with a constituency1 to please whom a member of theirs once boasted he made a speech in ,congress40 ,bunkum covers a wider field than science1 woman's suffrage1 or politics4 ,it is an autocrat that stands aloof1 and demands the gentle hearts of greenhorn and sage alike for its sacrificial fires4 ,it endeavors to prove that the age of miracles has not been choked out of existence beneath the widespread fingers of civilization1 or how could an orange be transformed before our eyes into a cauliflower1 an egg into a peeled potato 8 ,the bunkum entertainer molds the brains of the most iron-headed cynic into putty1 and transforms the scoffing jeers of the know-all schoolboy into humble admiration4 ,he is a quack sorcerer1 and1 even while we designate him as such1 we are obliged to own that his art is steeped in deepest mystery4 ,the bunkum entertainer is a parasite1 a cartoonist1 and mimic1 a smooth-tongued1 unscrupulous rascal1 who deserves--the conscientious entertainer 7who never tries bunkum because he is too stupid and wool-headed7 so has it--to be banished to a desert island and served to cannibals as minced donkey flesh 8 la bunkum40 ,he is the sort of man who borrows five pound notes1 gold watches1 and diamond rings from his audience1 and forgets to return them4 ,he cheats1 deludes1 patters1 lies by the yard1 swallows enough solid materials to furnish a warehouse1 and give an ostrich indigestion4 ,he is tough and brazen1 and cheaply cynical at the expense of the authentic conjurer1 juggler1 phrenologist1 ventriloquist1 seer1 and spiritualist4 ,he is the cuckoo of society4 ,he concocts a potpourri of brains and wit1 and offers it as his own2 and yet1 in spite of it all1 how fascinating and overwhelming is his personality4 ,he is the fool of the world--the jester who prances about in cap and bells1 who causes our sides to ache in our futile effort to keep our risibilities decorously pitched4 ,never did a folly play pitch and toss with the pedantic phrases of solemn courtiers1 kings and prelates1 as ably and irreverently as this monster incarnate with the five senses of mankind4 ,he is wrapped in mystery4 ,we regard him with awe and wonder3 the curtains1 the table1 the walls1 the footlights are his faithful agents4 ,we gaze at the rabbit popping up from his hat1 the watch flicked through a pistol barrel to the wall1 the inane jack of diamonds darting from his mouth to the back of his coat1 in trembling amazement of his cunning4 ,we whisper to our beating hearts1 8,can such things be80 ,at that instant he throws aside the cloak of secrecy1 and shows us his glaring infidelity4 ,he has not1 as we supposed1 ruptured and mastered every law of gravitation and nature4 ,he has simply been dealing in the art of 8bunkum10 and1 when he reveals his methods to us1 as he never fails to do in a continuous prattle of artless confidence1 we see--or we think we see--that it is all child's play and foolish absurdity4 ,the rabbit has not been suddenly created1 full-grown1 in the crown of his immaculate silk hat4 ,it owes its mild behavior to constant discipline1 its sleek coat to cabbage leaves4 ,like ,topsy--like all other bipeds1 quadrupeds and aquatic creatures--it has simply 8growed40 ,its cage is behind the stage1 to which it will presently be spirited away1 to rest in peace after its labors4 ,when we discover this we become very wide-awake1 very 8cute40 ,we will see through the next trick or perish in the attempt4 ,alas6 alas6 for our righteous determination2 once again we are deluded and snared4 ,the table performs a giddy reel1 the watch of the confiding benign bald-headed gentleman in the corner is shattered before our eyes1 and with a thrill of horror we strain our necks to gaze in his direction in order to witness the anticipated apoplectic seizure4 ,the gentleman1 however1 remains stolidly non-committal4 ,my young schoolboy eyes observe a whitening of the gills1 a compression of the lower jaw that bodes ill for the entertainer if he does not make good the loss2 and a few minutes after he is bidden of the smiling performer to look in his pocket1 and1 lo and behold6 the monogrammed watch1 which we are ready to swear we saw him pass to the platform1 dangles safely from the end of the chain spanning his stomach4 ,the shattered timepiece1 we are told glibly1 was only a base imitation in tin and glass4 ,but how1 where1 in what manner8 queries my boyish soul1 steeped in perplexity2 and1 by-and-by1 the monster answers all these questions as if he read that inner inquisitive voice so satisfactorily that ,i go home and try the trick before an admiring circle of friends1 borrowing my maiden aunt's watch for the purpose1 she being quite unaware that ,i have its threepenny duplicate in my pocket4 ,,sure ,,of ,,success ,i am sure of success4 ,i imitate the performer's patronizing complacency perfectly4 ,i smile and sneer politely with all his evil suavity1 and then ,i fire my pistol1 shatter the glass of the threepenny1 and my aunt rises from her chair with a piercing shriek4 8,tom1 you little wretch1 what have you done80 ,with an airy smile ,i bid her be calm1 and from the rear part of my person produce with a deft movement her precious belonging4 8,your watch1 madam10 ,i say1 with all the superior pleasantry of the 8bunkum0 performer4 ,then the smile freezes on my face1 the timepiece feels strangely light in my clammy hand4 ,i gaze at it in horror4 ,my eyeballs distend1 my heart swings backwards and forwards between my ribs4 ,i have bungled6 ,the good watch is shattered beyond hope of redemption4 ,the disc of paper and glass cowers up at me1 its hands stretched confusedly across its impudent face4 ,disgrace and ignominy descend swiftly upon me4 ,my maiden aunt prepares to leave the house1 declaring she will never enter it again4 ,my parents1 who expect great things at her demise1 beseech her forgiveness in vain4 ,i am banished from the firelit circle to my own room1 up to which a step presently approaches1 striding away from the disorder and hysterics downstairs4 ,my father enters with a long slender implement behind his back--an implement which1 from former experience1 ,i know portends woe terrific4 ,i draw the curtain--,i am chastised and broken in body and spirit4 ,for a whole week ,i keep severely aloof from the awful bunkum tyrant1 and then1 alas6 ,i am drawn again to the hall1 where he is performing as remorselessly as the silly fly is drawn to enmesh himself in the spider's web4 ,the next time ,i played a trick on my family ,i took good care it should be of a kind that would do no one--not even the most hypersensitive individual--any harm4 ,needless to say1 my aunt was not of the circle4 ,,thought-,,reading ,,extraordinary ,i told them briefly and airily that ,i was now about to exhibit my wonderful skill in thought-reading4 ,perhaps ,i should add that my sister ,jane1 who adores me1 was chosen as my confederate4 ,bidding them fix on a number1 which ,i would at once discover by the simple means of placing my fingers on their temples1 ,i withdrew with a bland smile into the passage4 ,when ,i returned they giggled a little1 and one twelve-year-old cynic of the opposite sex piped out scornfully-- 8,you'll never guess it1 ,tom4 ,you can't possibly--so there40 ,this maiden1 often a thorn in my flesh1 ,i silenced with a severe frown4 8,if you please1 ,i must request the audience to be perfectly silent1 to concentrate their minds--those of you who possess them----0 ,i paused to scowl at my pink-and-white torment--8concentrate them absolutely on the chosen number4 ,i am not going to guess it4 ,i am going to discover it by means of thought transference1 and1 as the strain is very great1 ,i must ask you to be perfectly silent40 8,it's like having our photo taken10 whispered the torment1 but some one bumped her ribs1 and she was reluctantly silent4 ,solemnly1 slowly1 ,i moved round the circle4 ,with drawn brows and narrowed eyes ,i placed my fingers lightly on the temples of my father1 mother1 uncle1 and friends in succession1 and then ,i reached ,jane4 ,she set her teeth just as ,i had shown her1 and ,i felt the muscles at her temples work steadily4 ,having counted ten vibrations1 ,i went on stolidly to the other heads until the circle was completed4 ,then1 standing before them1 ,i wiped the imaginary sweat of fatigue from my brow4 ,the torment looked radiant4 8,you don't know it8 ,there--,i said so1 ,tom1 you goose40 8,madam10 ,i returned with a bow1 8the digit fixed upon was ten60 ,tableau vivant6 ,the complete confusion of the torment1 the most guileless 8bravo0 from ,jane1 and my uncle's audible whisper to my proud parents4 8,the boy's a positive genius60 8,and he looks quite white and tired10 quoth mamma4 ,result--the promise of a ripping new bicycle from grandpa as a reward for my merit4 ,i owed a lot to ,jane1 who remained my faithful unsuspected confederate in many other tricks1 which gained me a reputation of being something of an extraordinary phenomenon and possessed of embryo genius4 ,it was delightful to enjoy the giddy pinnacle of fame to which my female relations raised me4 ,another trick that caused much sensation was the following1 and1 for any youth who wishes to follow in the footsteps of the great 7which ,i think some old poet chap--who had never studied the art of bunkum--remarked are written 8on the sands of ,time107 ,i will state clearly the manner in which it was done4 ,place three corks on the table1 and tell your wondering home circle that1 while you withdraw1 they may touch one of them1 and you will tell them which cork they touched4 ,your confederate must classify them as top1 middle1 and bottom4 ,when you return1 do not look at her fixedly1 but just once through the tail of your eye4 ,if you observe her brush her hair carelessly from her forehead1 you may safely conclude that the top cork is the one that has been touched4 ,if she picks an imaginary speck from her nose or blows it1 it is the middle cork4 ,if she scratches her chin pensively1 it is the bottom cork4 ,she must take care not to prolong the process1 and you must see at once 7without appearing to do so7 the hint conveyed4 ,,fake ,,ventriloquism ,by-and-by1 delighted with my many successes1 ,i studied and exhibited the difficult art of ventriloquism4 ,jane and ,i1 after long saving of pocket-money and hoarding of occasional tips--bestowed by kindly relatives1 susceptible to hints--succeeded in purchasing a dilapidated doll from a second-hand dealer1 and1 mastering the anatomy of its joints1 produced it1 seated in the place of honor in front of a curtained receptacle in which ,hyde1 our servant1 was cramped with a mouth organ1 glass of water1 straw and other apparatus1 carefully schooled beforehand as to cues and the order of utensils to be used4 ,or in place of a lay figure1 another boy seated in the chair1 and appropriately dressed1 can act as dummy 7,fig4 #a74 ,the bunkum ventriloquist must insert his hand in the hole at the back of the dummy1 so that he can move his head and limbs as desired4 ,he must also convey the appearance of throwing his voice outward from his chest1 boots or stomach1 without opening his lips except when addressing the dummy4 8,ladies and gentlemen10 said ,i very grandly1 8,i am about to exhibit to you some marvelous feats to illustrate faithfully the psychological force which mind exerts over matter4 ,this gentleman has spent thousands of years in an ,african tomb4 ,he was buried on his face1 and that accounts for his battered nose1 while it typifies the greatness of the position he occupied in #ae ,b4,c41 when it was the custom to put corpses of royal blood with their features compressed against the bottom of their coffins4 ,you would much prefer to hear his story from his own lips1 and this he will now relate at my persuasion3-- 8,androde60 ,hyde 7in a far away husky voice73 8,noble lord40 8,the audience here wish to know something of your experiences previous to your long confinement in the willy waily tomb on the ,timbuctoo plains40 7,hyde bubbles the water through the straw47 8,he's overcome with emotion4 ,these are tears trickling through the floodgates40 7,produce handkerchief and wipe them away47 8,there1 there1 old chappie1 don't cry40 ,hyde 7huskily73 8,when ,i think of the sand and the worms1 ,i can't help it40 8,don't think about them4 ,tell us about the ,palace ,mahom in which you lived40 ,hyde3 8,it was very beautiful--flowers1 fountains1 fruit1 and baccy as much as ,i could consoom40 ,hyde's pronunciation is somewhat faulty1 but ,i excuse this by saying that poor ,androde has not sufficient air in his sand-choked lungs to pronounce clearly4 ,illustration3 ,,fig4 #a4--;,fake ventriloquism4 8,and there were birds1 were there not80 ,hyde 7sadly73 8,the air was thick with them1 noble lord40 8,can you recall the note of the ,timbuctoo owl80 7,figure lost in pondering4 ,head bent1 hand raised to temple in ,shakespearean attitude2 lifts his face1 mouth opened in a wide grin47 ,hyde3 8,it all comes back40 8,give us a specimen of the owl40 7,pause4 ,dummy thinks hard1 and ,hyde blows mouthpiece4 ,i then call upon him to imitate the ,timbuctoo lion1 and ,hyde growls through a glass chimney1 swayed backwards and forwards1 and renders excellent imitation47 ,i need not narrate our further conversation4 ,the young bunkum entertainer can concoct something probably far more idiotic himself4 ,he may dish up puns1 tell funny tales1 ask riddles1 c41 and1 so long as his patter is bright1 amusing1 and illustrated by as many funny jerks and head-turnings of his dummy as he can squeeze into the entertainment1 he will keep a house party amused for a considerable time4 ,my figure is not always posed as an unearthed royal mummy from the plains of ,timbuctoo4 ,sometimes ,i dress him as a coster-boy1 chimney-sweep1 or gentleman in evening dress4 ,not infrequently he appears as a clown in tight linen skull-cap and red stockings2 and a quick change into my mother's old dress1 renovated by ,jane1 transforms him from an awkward-limbed hoyden to a demure old lady4 ,this dressing need not cost the performer anything4 ,he has only to unearth a linen bag1 containing remnants and articles of outgrown clothing1 to work the miracle4 ,a dummy should have as many different costumes as ,queen ,elizabeth4 ,they will all come in handy1 and add novelty to the entertainment4 ,if the cost of procuring a dummy is beyond the performer's purse--as it was beyond mine for quite a considerable time--he may engage a confederate to walk1 behave1 and talk automatically1 conceal his face in mask and wig1 and render a clever and ludicrous performance4 ,this1 however1 needs considerable rehearsing and care4 ,,the ,,three ,,old ,,maids ,an item that makes for novelty and change in an evening's performance is the following3-- ,secure three young girls--,i don't mean kidnap them1 but use your masculine powers of persuasion4 7,i find the majority of women folk need little when it's a matter of dressing up and showing off to hilarious friends47 ,this is a digression4 ,each damsel must have an old woman's mask1 the uglier the better1 secured at the back of her head by means of elastics1 which are easily hidden by her hair4 ,she must wear a long skirt that conceals her feet1 the back part of it covered by a small apron4 ,her hands1 in mittens1 should be clasped behind her over a stick4 ,to hide the edge of the mask1 some fluffy headgear is essential1 such as a lace fascinator with a rose or two fixed at the side1 which is folded crosswise over the back of her shoulders and frames the mask4 ,illustration3 ,,fig4 #b4--,the ,three ,old ,maids of ,lee4 ,place the three behind a curtain4 ,when all is ready--and the performers should take care to stand perfectly still1 for fear of disclosing the masked profiles at the back of their heads--the curtain is drawn1 and they sing to a pianoforte accompaniment a verse of 8,we are three young maids of ,lee40 ,the onlookers will probably designate this 8pretty1 but rather tame40 ,this is where the fun comes in1 for no one is prepared for the grand finale4 ,at the end of the verse the maidens step backwards in a row and retire behind the curtain1 or turn round with their masks to the audience1 their heads thrown well over the hands holding the sticks 7,fig4 #b74 ,when they are ready the curtain is again drawn1 and1 amid shrieks of merriment1 the last verse is sung by voices as cracked1 discordant1 and out of tune as possible--8,we are three old maids of ,lee40 ,the hands and heads should quiver with old age1 the figures be bowed over the sticks4 ,the result is ludicrous to a degree1 and never fails to delight the unprepared audience4 ,i once saw an old dowager duchess1 severe in full consciousness of war-paint and feathers1 nearly burst the diamond snap of her necklace with laughing at the absurdity of the spectacle presented4 ,its great advantage is that it is cheap and easy1 and can be performed without any rehearsing1 by inviting three girls from the audience and spending a few minutes in instructions behind the scenes4 ,if you do not know them well enough to presume so far upon their good-nature1 call up three chums of your own sex1 array them in feminine apparel1 and the result is even more ludicrous1 if more expensive1 for in this case you will require wigs to hide their cropped heads for the first verse1 and dressing them will need more time4 ,,bunkum ,,lectures ,i have frequently amused my long-suffering friends and relatives by ,bunkum ,lectures4 ,for example1 one on ,toe and ,cornology1 quite an original science1 gives scope for the most idiotic remarks on the characteristic traits portrayed by toes4 ,for my lecture ,i have an easel1 covered with a block of thin paper perforated at the top1 so that the sheets are easily torn off4 ,on these ,i rapidly sketch in turn different types of toes in chalk4 ,if the entertainer is unable to draw1 he can probably persuade an artist friend to sketch the members required beforehand4 ,in this case the sheets need not be perforated1 but simply thrown over the top of the easel as he exhibits the different drawings4 ,an easel is soon constructed1 and can be made at home out of soap boxes by the amateur carpenter2 or the block of paper may be placed on a music-stand4 ,i begin my lecture by a short treatise on toes4 ,i show diagrams of 7#a7 the ,president's toe1 7#b7 the prelate's toe1 7#c7 the courtier's toe1 7#d7 the tyrant's toe1 7#e7 the toady's toe1 7#f7 the artisan's toe1 7#g7 the neurotic toe1 7#h7 the spiteful toe1 7#i7 the cringing toe1 7#aj7 the poetic toe1 7#aa7 the melancholy toe1 7#ab7 the absurd toe1 7#ac7 the philanthropic toe1 7#ad7 the corn-riddled toe4 ,here ,i try to be witty1 and remark that some people of an original turn of mind wear their corns on their noses instead of inside their boots4 8,the corn is precious--we all need corn2 we make a great to-do when our corn is oppressed by taxes1 for we cherish it4 ,there is nothing--not even his wife or twin babes--so dear to the heart and necessary to the well-being of man as corn4 ,corn means bread4 ,bread is the staff of life4 ,the man with corn 7a corn7 is grateful for the prop of the staff1 so that to have a corn sprouting on your big toe should be no hardship4 8,it is a convenience4 ,it is tinned for consumption in your boot1 out of reach of ,tariff ,reformers and ,free ,traders4 ,it is your own private property4 ,sometimes it is trodden on maliciously1 but it does not vanish on that account4 ,there is something obstinate and bull-necked about the corn--the more it is trodden on the more it asserts itself4 ,it is a hot-house plant4 ,it needs a cover of wool1 a roof of boot leather4 ,under these conditions it thrives like the baby fed on ,mellin's food4 8,i can't understand the fuss the unemployed make4 ,why should they1 when they have such a treasure hidden in their boots8 ,so long as a citizen possesses this luxury he is an independent man4 ,what does he want with foreign corn8 ,ah1 my friends1 we have not yet reached the full realization of the tremendous privileges we inherit4 ,the corn may not yet be ripe for cutting1 but every day1 every hour1 sees it nearer that perfection which rejoices the heart of humanity4 8,see how beneficent nature has become during the last centuries4 ,the bootless1 prehistoric savage had to plant and reap his corn in the barren fields1 while we are provided gratis with an abundant supply that is likely to last some of us a lifetime4 8,there are1 of course1 some individuals who have barren1 cornless toes1 although ,i am glad to say they are in a very small minority4 ,i have taken pains to secure a correct census of the corn-sprouts that have appeared during the last year1 and ,i find on an average that only #e per cent4 are ignorant of this blessing4 8,the uses of a corn crop are too numerous to mention4 ,its chief function is its use as a barometer4 ,the man setting out with his wife and children to spend a day at the seaside should1 before starting on the excursion1 consult his booted friend4 ,if it admonishes him severely he should not ignore its voice4 ,woe betide him if he does6 ,it is less disastrous for him to drown his conscience than shut his heart against the promptings of his corn4 8,should he do so1 and act upon his determination to spend a long day on the sands1 anticipating a pleasurable bask in the sunshine1 dire catastrophe will befall him4 ,rain descends in bucketfuls upon him1 his patient wife1 and wailing progeny4 ,they return to town drenched to the skin1 and are all laid up with chills1 which means a week's absence from the office--perhaps dismissal by his employer1 if he is a clerk1 and a long doctor's bill at the end of the month2 and who is to blame8 ,had the man obeyed the mandates of the faithful vegetable protuberance on his big toe all would have been well4 8,the only individual ,i am inclined to respect and admire is the man who cultivates and is led by his corn in all the important affairs of life4 ,to be without the ripening corn is to miss the greater part of the meaning and poignancy of existence4 ,the possession of this treasure causes a man to thread his way gingerly and tactfully through the city streets4 ,he never blunders or bungles2 he is a sensitive1 considerate person1 who unconsciously avoids treading upon or coveting the abundant crops of others4 ,his corn's influence is more beneficial than freemasonry or foreign missions4 8,to gain the sympathies and interest of a fellow-being when you are in trouble and want his financial aid1 don't plunge into your story at once1 but approach him gently with the kindly query1 #8,have you a corn8' ,if he replies in the affirmative1 you may safely intrust him with your difficulties4 ,if1 on the contrary1 he negatives your question1 recognize at once that he is a man of dormant sympathies1 and don't waste further time upon him4 ,it will be useless4 ,he is a cornless individual1 therefore heartless40 ,i wind up my discourse with some such remark as this-- 8,ladies and gentlemen1 turn away from the pernicious tyrants who seek to rob you of your birthright in advertising corn salves and plasters4 ,they are wolves in sheep's clothing4 ,they are jealous and embittered by the barrenness of their toe pastures which1 do what they will1 yield no corn40 ,,the ,,sharp787-,,shooter ,after this1 in order to secure the forgiveness of my hearers for my opinions and oratory1 both pure bunkum1 ,i bring a trick to their notice1 which ,i work with ,hyde1 and of which ,i am rather proud1 because it is quite original and works awfully well1 in spite of the fact that it's as simple as the alphabet4 ,for those who would like to try it1 here it is3-- ,hyde1 hidden behind me1 is armed with a paper bag inflated with air4 ,beforehand ,i place a used bullet on the floor at the spot at which ,i intend aiming my pistol4 ,i employ some patter to remove the growing alarm of my family1 and the anxiety expressed for themselves1 the furniture1 and lastly--my own person4 8,ladies and gentlemen10 ,i say with self-complacency extreme1 8,i am about to perform a feat with my hands0--7joke--pause--a flutter of laughter74 8,thank you10 ,i say with a polite bow--8the like of which has never been seen--since the making of the world4 ,i will load and fire this revolver1 and the bullet will not only make no mark1 but there will not even be a flash or smoke4 ,you will hear the sound of the explosion1 and ,i will show you the bullet discharged4 8,so that you may see that there is no bunkum in this marvelous achievement1 ,i will hand you the bullet before ,i place it in the barrel and immediately after ,i have fired it40 7,here ,i pass round unused bullet4 ,i then place it in full view of the audience in the barrel47 ,i retire to the curtain immediately in front of ,hyde1 and take aim above the spot where the spent bullet lies4 ,count aloud 8,one1 two1 three60 ,at three ,i pretend to pull the trigger1 and ,hyde brings his hand forcibly on the paper bag1 which causes my audience to bounce in their chairs4 ,then ,i cross the platform1 stoop1 pick up the used bullet1 hand it round for inspection1 and retire modestly1 overcome with glory4 ,,the ,,ghost ,occasionally ,i work a ghost in the following way4 ,after some patter1 in which ,i inform the onlookers that ,i am about to conjure up the shade of some famous character1 ,i extinguish the lights1 and withdrawing to a corner of the room1 enfold myself in a long black mackintosh or coat that shrouds my head and figure completely4 ,i strike a match behind the curtain1 and1 when ,i have a good spark that will last a few seconds1 blow out the flame1 and hold the end of the match between my teeth1 so that my mouth is lit up 7,fig4 #c74 ,my lips are drawn in a fiendish grin1 and ,i strike an attitude1 accompanied by inhuman moans and drum-beating from ,hyde4 ,illustration3 ,,fig4 #c4--,the ,ghost4 ,when the spark dies1 ,i hide the black garment behind the curtain1 and assume the position ,i occupied before the appearance of the ghost4 ,hyde switches on the light1 and my shivering onlookers have no key to the riddle4 ,the apparatus employed by the bunkum entertainer and the cost it entails depend largely upon his own ingenuity4 ,most of the articles ,i employ are of my own manufacture4 ,my wigs do not hail from a wig-maker's1 but from the lumber room at the top of our house1 where ,jane and ,i shred disused rope1 fix it by means of gum or stitches on to pieces of stiff book-muslin1 shaped so as to fit the head4 ,if other colors1 such as black and red1 are required1 we resort to aniline dyes1 and the result is much satisfaction to ourselves4 ,,chapter ,,xix ,,ventriloquism ,,in ,a ,,month ,a ,,practical ,,and ,,comprehensive ,,guide ,,to ,,the ,,art ,,of ,,valentine ,,vox ,,there is one form of entertainment which perhaps makes a stronger appeal to the average boy and young man than almost any other4 ,it would not1 in a sense1 be wrong to say that ventriloquism is1 and has been for a great number of years1 the most envied of all accomplishments incidental to the art of the amateur and semi-professional entertainer4 ,true1 ventriloquism for many centuries was regarded as an adjunct to wizardry1 and the exponents of black magic1 but the great success achieved by the writer of 8,valentine ,vox10 the central character in which was endowed with the most wonderful and extraordinary powers of voice throwing1 brought the subject of ventriloquism at once under general notice1 and ever since it has steadily won its way into universal favor1 with the result that1 at the present time1 it easily eclipses in popularity most other forms of amusement4 ,despite this1 however1 the misconceptions existing regarding this branch of vocal phonetics are extraordinarily numerous and widespread1 due1 perhaps1 in a measure to the fact that the amount of valuable written instruction on ventriloquism is so small1 while the number of people who have swallowed the fascinating and improbable adventures dealt with in the book just referred to are correspondingly large4 ,to a very considerable extent1 then1 it is the object of this chapter primarily to dispose of the many existing fallacies concerning ventriloquism1 because by so doing alone is it possible to commence a study of the subject with the hope of attaining proficiency and success4 ,the first idea which the would-be ventriloquist has to dismiss from his mind is that1 by following out a stated course of exercises1 he will be able to 8throw0 his voice or1 in other words1 to upset the equanimity of peaceable old gentlemen snoring quietly in the furthest corner of the railway carriage--or ruffle the temper of some aged lady by producing facetious remarks concerning her appearance--from a long distance away2 not that those who approach this subject have any particular desire to be a disturbing influence to other people1 but it is safe to say that more take up ventriloquism with the idea of practical joking than for any other purpose4 ,in point of truth1 the real art of ,valentine ,vox does not lend itself very easily to the production of such illusions2 even when the performer is capable of producing ventriloquial sound1 he will discover that the 8distant0 effect depends almost entirely upon his situation at the moment of utterance1 and whether or not those around him are prepared to give the credence he desires to his efforts4 ,in other words1 a ventriloquist cannot throw his voice wheresoever he will as if it were sound bottled up only to come out and be heard when it is some distance away2 the best he can hope for is to make that sound so deceptive to the ears of his audience that1 to them1 it seems to come from some one other than the actual speaker4 ,it cannot1 however1 be denied that the stock-in-trade of the clever ventriloquist is so unusual and superior to that of his fellow-worker in any other branch of entertainment1 that he is capable of producing the most humorous and arresting situations4 ,moreover1 it is a power which once gained can never be lost1 and although a ventriloquist may1 from various causes1 give up the pursuit of his favorite subject for a period of many years1 yet he can pick it up again at the point where he left it and find himself still possessed of the same wonderful and extraordinary skill4 ,,all ,,born ,,ventriloquists ,unhappily there are other very prevalent misconceptions to be removed before instruction can be either given or undertaken4 ,the marvelous and almost incomprehensible powers attributed by the late ,mr4 ,henry ,cockton to his popular character1 doubtless gave rise to the idea that ventriloquism was a gift natural only to those possessing unusual formation of the throat and vocal organs4 ,modern research and investigation1 however1 have proved that every one is a born ventriloquist1 that the power to make sounds appear to emanate at a point remote from the speaker is universal--and that all those who study the subject from a proper and sensible standpoint can easily acquire the art4 ,then1 again1 it has long been supposed by the uninitiated that ventriloquial practice is injurious to the throat1 and capable of harming the lungs4 ,exactly the opposite is the case2 the exercises necessitated by the proper study of the art are such as will serve not only to train the vocal organs1 but also to induce proper breathing--a practice neglected by many--and to strengthen and invigorate the lungs4 ,from many years' personal experience the author can testify to the truth of this fact2 he has known a number of young men who1 possessing lung and throat troubles1 and acting on the foregoing advice1 have followed out a practical course of ventriloquial training1 and have obtained much material benefit thereby4 ,of course it cannot be denied that some possess a natural aptitude for the correct expression of ventriloquial sound1 and it is they who make the cleverest exponents4 ,therefore1 from the start it should be assumed that a ventriloquist has only to cultivate the vocal qualifications with which he has been endowed in order to shine as a popular entertainer4 ,careful and systematic attention to the instructions subjoined will not only strengthen the throat and respiratory organs1 but will also endow any one young man1 or young woman1 with the power of giving a highly amusing entertainment4 ,probably many who give this chapter attention will do so with the idea of taking up the subject for the purpose of making a living1 and in that respect it may truthfully be said that ventriloquism is one of the most paying forms of entertainment4 ,while the number of conjurors1 comic singers1 c41 is legion1 those capable of giving a really good ventriloquial entertainment are comparatively few1 with the result that a clever ventriloquist is always certain of obtaining engagements at fees which he1 himself1 can fix and command4 ,the popularity of the subject is so widespread that the chances of exhibiting it are increasing every year4 ,,the ,,initial ,,stages ,just as the successful illusionist is called upon to devote many many hours of his time to the speedy and finished manipulation of cards1 coins1 and billiard balls1 so the young ventriloquist has an equally uninteresting course to traverse4 ,it is1 however1 possible for the initial stages of the work to be accomplished in less time than is the case with conjuring1 and while the work has to be done all the same1 dry and tiresome though it may be1 after it is once accomplished the performer can put it behind him for ever4 ,the primary difficulty to be overcome is incorrect breathing4 ,possibly nine out of ten1 when they come to read this chapter1 will discover that their method of breathing is faulty4 ,most people1 from lack of proper instruction and through carelessness1 breathe through the mouth--and this fault must be remedied at once4 ,for ventriloquism1 as with singing1 breathing must take place through the nostrils4 ,the necessity for this--apart from hygienic reasons--is that because the ventriloquist1 particularly when he is performing with a 8lay0 figure1 is called upon to conduct a dual conversation1 and the supposed interchange of remarks between him and the automaton is so rapid that mouth breathing would interfere with the continuous flow of words4 ,only by taking in deep inhalations through the nostrils and filling the lungs to their utmost capacity is it possible to carry on one part of the conversation with moving lips1 and the other with the face immutably set4 ,,breathing ,,exercises ,these should be undertaken regularly every day1 preferably early in the morning and in the open air4 ,stand erect1 shoulders drawn well back1 arms hanging loosely at the sides1 and then1 closing the mouth tightly1 draw in a deep breath1 retaining it for some seconds in the lungs4 ,not infrequently it happens1 that the ventriloquist when performing is called upon to keep a conversation going for quite a minute and a half without the opportunity of recharging the lung cells with a fresh supply of oxygen2 from this it will easily be understood how important deep and sustained breathing is4 ,at first difficulty will be experienced in holding the breath for more than five or six seconds2 by the end of a week1 after ten minutes' practice every morning1 the chest will be so expanded and strengthened that 8half minute breaths0 may be taken with ease4 ,continue the practice of this exercise until only one inhalation and exhalation takes place every forty or fifty seconds4 ,somewhat dry1 indeed1 sounds this part of the ventriloquial study2 nevertheless it is of the utmost importance1 and will well repay the time1 trouble1 and perseverance devoted to it4 ,as a number of minor acquirements must be gained before ventriloquial effects can be produced1 the breathing exercises may be alternated with the most necessary adjunct of learning to speak without moving the lips4 ,,automaton--,,or ,,man8 ,it has previously been said that ventriloquism largely partakes of the nature of an illusion1 and this effect is produced by the performer uttering sounds without giving visible indications of the fact4 ,consequently1 when the audience have before them two figures1 a live and a dummy one1 and the mouth of the 8dummy0 opens and shuts to correspond with the words used1 whilst the face of the ventriloquist remains mask-like and passive--the illusion that it is the 8automaton10 and not the man who is speaking1 is complete4 ,so important indeed is the ability to do this properly1 that speaking without facial movement ranks of equal importance with the placing of the vocal chords in such a position that 8distant0 effect is given to sound4 ,in fact1 one might almost say that a most amusing entertainment can be given without this latter power at all4 ,many ventriloquists or polyphonists1 as they more correctly designate themselves1 rely solely for their entertainment on a 8knee0 figure and speech without facial expression4 ,those who do not aspire to become really first-class and proficient ventriloquists may conclude their instruction at this point1 and rest quite assured that they have learned sufficient1 at any rate1 to give a creditable drawing-room performance4 ,naturally the beginner would like to have some idea of the time it would take to gain a practical working knowledge of ventriloquism4 ,well1 the student who would take the trouble and devote sufficient time to the initial and most difficult stages of the work would be in a position to give a very creditable performance long before his painstaking brother who1 as fast as he seems to be getting on1 will find he has to go back again and again over the early ground4 ,however1 after devoting say a week to the elementary stages1 a 8knee0 figure might be purchased1 and within a very few days a private entertainment might safely be entered upon4 ,as1 however1 the course herewith outlined will take in several different kinds of 8voices0 for automata1 together with the various modifications of the 8distant0 voice1 the student should not expect to gain proficiency under a month4 ,of course1 to give a really finished entertainment consisting of an exhibition of the 8near0 and 8distant0 voices1 together with instrumental and vocal mimicry equal in skill to the average product of the professional entertainer1 many months' practice are required4 ,,speaking ,,with ,,still ,,lips ,a study of the alphabet reveals that difficulties lie in the path of pronouncing certain letters--a1 e1 i1 o1 u1 c1 d1 g1 h1 j1 k1 l1 n1 q1 r1 s1 t1 x1 and z--issue from the mouth quite easily2 but b1 f1 m1 p1 v1 w1 y all make a demand upon the muscles of the lips and cheeks4 ,unfortunately these letters often recur in ordinary speech1 and as it is almost impossible to speak them distinctly without facial movement1 appropriate vocal substitutes have to be made4 ,on the border line is 8b10 which is generally pronounced by bringing the upper row of teeth down to the under lip and forcing the breath out between the lip and teeth2 by giving greater force to the exhalation1 and1 opening the mouth1 it will be found that almost identically the same sound can be gained1 and it is this one which has to be used for all words commencing with 8v0 and 8b40 ,thus the word 8brother0 is really pronounced ventriloquially as 8vruther02 in the hurry of conversation the substitution passes notice1 and the audience hear only the correct word4 ,for 8f0 an accentuated aspirate makes a very passable substitution--i4e4 8fool0 becomes 8hool10 8feel0 becomes 8heel10 and so on4 8m0 will be found rather more difficult1 but if the lips are formed into an orifice1 and the breath drawn sharply in1 the sound of the 8m0 can be made inside the mouth instead of by the lips4 ,as it is almost an impossibility to sound the initial 8p0 unless the lips come together1 words commencing with it should be studiously avoided4 ,another plan is to drop the first letter altogether2 but the former is the better4 8w0 is amenable to a little tongue-twisting1 and is accomplished by moving the tongue twice in quick succession to the roof of the mouth making the sound at the back of the throat4 ,this is as regards the letter itself1 but words commencing with 8w0 are quite easy4 ,practice on 8which10 8when10 8what40 8y10 however1 is a fairly certain test1 and if you can comfortably manage this without betraying the fact to the looking-glass 7before which you should carry out your practice7 then you have mastered a great difficulty4 ,a quick exhalation should take place while words commencing with it are being uttered4 ,,two ,,kinds ,,of ,,ventriloquism ,ventriloquism may be divided into two classes--the first and more easy of acquirement known as 8near10 i4e4 including all those vocal illusions produced with the aid of automata2 and 8distant10 which takes in the various illusions achieved by what is known as 8throwing the voice40 ,the most finished exponent of both these branches1 of this or any other age1 was the great ,lieutenant ,walter ,cole1 and he introduced into his entertainment such an exquisite blending of the two styles that his example might well be imitated by other followers of the art4 ,when carrying on an animated conversation with the 8lay0 figures placed at near quarters the proceedings would suddenly be interrupted by the low sound of voices coming from afar1 and this would gradually increase in volume as the speakers were supposed to draw near1 until at last they would be heard outside the very room in which the entertainment was taking place4 ,this is alluded to now1 as showing the latitude which ventriloquism allows its exponents4 ,of the two branches1 8near0 ventriloquism is much the simpler to acquire1 although some might hold that1 in order to justify the title1 8distant0 sounds should first be mastered4 ,for the purpose of adding interest to the work1 students are recommended to give precedence to the 8near0 effects4 ,briefly1 the 8near0 voices come from the mouth1 the 8distant0 from the throat4 ,for the former five modified voices are generally used4 ,these are3 8,the old man10 8the old woman10 8the little boy10 8the little girl10 and 8the darky0 or 8the longshoreman40 ,the first is a foundation for the last two4 ,it has been spoken of as the 8grunt10 because1 being the vocal production of an aged and uneducated man1 in its initial stages it much resembles the familiar grunting of a pig4 ,and here it should be noted that the speech of ventriloquial figures is always harsh and toneless because the efforts to produce the sound in the mouth without moving the lips rob them of that music and modulation invariably associated with the speech of educated persons4 ,do not attempt to speak ventriloquially1 as you would naturally but slur the endings of your words4 ,grunt and drag them out slowly1 just as do many countrymen and those unacquainted with the rules of proper speech4 ,to give the sound the necessary depth and loudness1 keep the lips slightly apart1 the tongue lying loosely in the mouth2 then make the grunt1 using some vowel sound like 8ah60 fairly far back4 ,to a certain extent the vocal chords will have to be contracted and the chin drawn slightly down into the chest4 ,at first only a spasmodic jerkiness of the breath will come1 but after a little practice 8ah60 can be said quite easily1 and then other and longer words follow as a matter of course4 ,,the ,,old ,,woman',s ,,voice ,known as the 8theek0 or 8rush0 voice1 it partakes of the nature of the squeaky1 shrill sound produced by a reed instrument4 ,most people are gifted with the power of singing 8falsetto10 and the 8theek0 voice simply consists of falsetto tones somewhat exaggerated4 ,either the words 8queek0 or 8theek0 may be used for the preliminary practice1 the latter perhaps being preferable4 ,as it is not intended in these chapters to enter into a practical discourse on the anatomy of the throat and vocal chords1 technical terms relating to such will be avoided as far as possible4 ,however1 the larynx must now be mentioned--this is the part of the throat often spoken of as ,adam's apple1 and is the convex portion of the first cartilage of the larynx4 ,it is1 then1 this part of the larynx that has to be compressed by muscular contraction in order to give the 8theek0 voice its proper quality2 by a slight pressure with the hand on the 8apple0 you will realize the position which this part of the throat should occupy when muscular contraction takes place4 ,now1 taking in a deep breath and contracting the larynx1 it will naturally curl up the tongue1 until the tip presses tightly against the roof of the mouth4 ,open the lips fairly wide and say the word 8theek0 in a high-pitched falsetto tone1 sustaining the vowel sound as long as you can4 ,your first efforts will probably end in dismal failure1 but after a few attempts the full sound settles down to the long drawn-out sound of full roundness and tone4 ,now you have acquired the 8theek0 voice1 which is also the basis of the voices used with the figures of little boys and little girls4 ,very possibly your practice in the elementary stages of ventriloquism will result in a slight soreness of the throat4 ,to alleviate this1 and1 at the same time1 to strengthen the vocal chords1 gargle with a weak solution of salt and water1 or better still1 get a druggist to make up a gargle for you4 ,curiously enough1 the mere effort of gargling is in itself a valuable aid to the production of ventriloquism1 inasmuch as the subject is forced to emit sounds while the water is in the throat1 and these will be found to possess quite a 8distant0 effect4 ,having mastered the 8grunt0 and 8theek0 voices1 use words consisting of vowels1 changing the words into sentences as progress is made4 ,at this point the young ventriloquist is sufficiently well equipped to undertake a public exhibition of his powers1 and this being so1 it is perhaps better to make mention of ventriloquial figures before the remaining 8near0 voices are dealt with4 ,as a matter of fact1 the practice of ventriloquism in its earlier stages is not the most interesting of occupations1 and not until the beginner awakens to the full realization of his powers--as he does only when he is working with automata--is the real fascination of the art felt4 ,,ventriloquial ,,figures ,perhaps it is hardly right to assume that every one has seen a ventriloquial figure2 certainly many will be unacquainted with its peculiarities and modes of working4 ,the dummy is usually a humorous representation of some grotesque character--an old man1 with strongly accentuated peculiarities1 such as a red nose1 wrinkled skin1 and big jaws2 an old woman1 with thin1 pointed nose1 sharp eyes1 and scanty locks2 a little boy grinning saucily1 and having the appearance of possessing the wisdom of all the ages2 the little 8miss10 of perky manner2 the good-natured1 rollicking black man2 and the longshoreman1 square jowled and cheeky4 ,illustration3 ,,fig4 #a4--,ventriloquist with knee figure4 ,illustration3 ,,fig4 #b4--,working with two figures4 ,the one essential about the ventriloquial figure is that it shall have a moving mouth4 ,in reality the chin is cut away from the face1 and the movable portion working on a pivot or string1 gives the same effect as when a person is speaking4 ,there are many different forms of ventriloquial figures1 some of which are shown on this page 7,figs4 #a and #b71 but for the amateur the kind which possesses only a moving mouth is quite suitable4 ,illustration3 ,,fig4 #c4--,showing construction of ventriloquial head4 ,by means of a little ingenuity and the expenditure of a few cents a movable tuft of hair may be added to the wig1 but as the working of this is liable at first somewhat to hamper the manipulation of the automaton1 it should perhaps be left until proficiency is more assured4 ,the hole in the back of the head or body permits of the hand of the performer pressing either upon a plate or upon a circle of wire1 which in turn moves down the movable mouth1 closing automatically by means of a spring4 ,figs4 #c1 #d and #e respectively show the construction of ventriloquial figure heads and another principle of ventriloquial figure manipulation4 ,the number of mouth movements made by the figure should1 of course1 coincide as nearly as possible with the number made by the mouth in ordinary speech2 thus a natural effect will be gained4 ,placing a 8dummy0 on each knee1 the ventriloquist opens up an amusing conversation4 ,the aim of the figures is to destroy the effect of the performer's remarks by the interpolation of absurd interruptions4 ,the whole matter resolves itself into a witty dialogue between three or four people1 of whom the entertainer is the central character4 ,such a dialogue should be brisk and sparkling with humor1 all vulgarity being carefully eliminated4 ,it is as well to write the dialogue out and learn it by heart4 ,,ventriloquial ,,figure ,,manipulation ,always adhere to a prearranged order of ventriloquial figures4 ,if you commence your entertaining career with the old man on the right knee and the old woman on the left1 keep to that arrangement all along4 ,a change will inevitably result in putting the wrong voice into the wrong mouth1 and the result will be disastrous4 ,bear in mind that all the while the endeavors of the figures are to make you appear ridiculous in the eyes of the audience1 and they should turn all your sensible remarks into nonsensical ones1 so that the laugh is always against yourself4 ,of course the audience will join in the laugh against you1 and it is the taking of this in the proper spirit that will signalize your success as a ventriloquist4 ,when putting words into the mouth of an automaton1 its face should be turned towards you2 inversely1 whilst you yourself are talking the automaton should be engaged in looking curiously about him at the audience1 as if taking not the slightest interest in your remarks4 ,suddenly1 however1 he will snatch the opportunity of scoring off you1 to the great enjoyment of his partner1 the old woman4 ,illustration3 ,a4 ,pull ,b4 ,spring ,c4 ,pin ,,fig4 #d4--;,construction of laughing darky's head4 ,illustration3 ,,fig4 #e4--,principle of ventriloquial figure manipulation4 ,immediately you have finished speaking in your natural voice1 keep your lips absolutely fixed during the time the figure is supposed to be talking4 ,it is not proposed here to give specimens of ventriloquial dialogue1 because the humor of these depends so much upon the natural ability of the performer in presenting the joke or funny story4 ,undoubtedly the best plan is to form a cutting-book out of the tit-bits extracted from the humorous periodicals of the day1 and to paste them in4 ,in this way a voluminous collection of anecdotes1 tales1 and riddles will be made1 and by a judicious combination and selection of these1 enough material can be speedily gained to last months without fear of repetition4 ,the most entertaining form of presenting riddles is for the 8old man0 or 8little boy10 whichever is being used1 to propound them1 and the entertainer to give some practical answer to them4 ,the real point of the joke should be brought out by the 8lay0 figure1 to the accompaniment of considerable mirth4 ,home-made automata are not recommended1 because the cost of purchasing really serviceable 8dummies0 is so small as not to make it worth while spending a deal of time and trouble1 to say nothing of money1 on their construction4 ,moreover1 the great point about the 8lay figure0 is that it should possess a funny face1 and such expressions are rather difficult for an amateur to obtain4 ,many entertainment emporiums deal largely in ventriloquian outfits1 and reliable 8dolls0 ought to be procured fully dressed for about #e each4 ,,voice ,,for 8,,little ,,boy0 ,when a child speaks he almost invariably does so in a high-pitched tone1 more or less directing the sound through his nose4 ,this being so1 the 8theek0 voice is the one most suitable for him4 ,the similarity between it and the speech used for the 8old woman0 may be avoided by speaking in a somewhat lower tone1 and in a simpler and more disjointed fashion4 ,suppose1 for instance1 that you ask the little boy a question8 ,get him to repeat that question after you1 and give the answer in short1 jerky1 broken sentences4 ,for the 8little girl0 use a slightly higher tone1 without directing the sound through the nose4 ,in her case also the mode of expression must be childish1 but with slightly more refinement4 ,the voice for the 8longshoreman0 and the 8darky0 are both of the 8grunt0 order4 ,for the former1 the 8old man0 voice is used1 with the addition of the peculiar 8tough0 twang2 whilst for the latter1 employ speech of a much lower and more resonant tone4 ,place the chords as when using the 8grunt0 voice1 breathing rather heavily1 and force the sound as far back in the throat as possible1 at the same time contracting the muscles of the stomach while the breath is being expelled4 ,the word 8yah6 yah60 is a very good one upon which to practice1 and the vowel sound should be sustained to some length4 ,,the 8,,distant0 ,,voices ,by this time the young ventriloquist should have attained sufficient proficiency in the art of manipulating 8knee0 figures to feel confident of venturing on the far more difficult and relatively more important 8distant0 voices4 ,the real test of ventriloquial power is when the performer is capable of making sounds appear to come from a distance1 i4e4 so modify his utterances that they appear to the audience to proceed from some point remote both from the entertainer and from themselves4 ,the basis of real ventriloquism1 as apart from polyphony1 i4e4 8near0 effects1 is known as the 8bee drone10 because the first sound of which the vocal chords are capable when placed in the required position much resembles the droning of a bee in full flight4 ,the 8bee drone0 should be practiced in loosely fitting clothing1 so that neither the muscles of the throat nor of the chest are unduly hampered4 ,from a natural1 upright position1 inhale in a short1 jerky manner1 making what is best described as a retching noise at the back of the throat4 ,unpleasant as the practice of this undoubtedly is for the first few minutes1 after a short while the noise emitted will settle down to a softly sustained hum4 ,the tongue should lie flat1 so that the sound waves produced partly in the larynx and partly in the back of the throat are forced upwards by the action of the abdominal muscles and directed towards the roof of the mouth1 the latter acting somewhat as a sounding board--modifying the sound and conveying to the ears of a listener some distance away a 8distant0 effect4 ,the continuous practice of the word 8ah10 with the vocal chords in the position just described1 will speedily produce the necessary droning quality4 ,it remains now only by a contraction of the throat to regulate the quality of the tone and the distance from which you wish it to appear to come4 ,from this point progress will be found rapid and satisfactory4 ,the various modifications of the bee drone produce respectively1 #a4 ,the 8roof0 voice4 #b4 ,the 8level0 voice4 #c4 ,the 8floor0 voice4 ,the 8roof0 voice is extremely useful for illusions of all kinds1 and perhaps is the easiest of the three to acquire4 ,its purpose is to make sound appear to come from any point above the audience1 and the entertainer practices it at first by standing erect1 taking in a deep breath1 and then drawing backwards and downwards the lower jaw1 holding it by muscular contraction in that position4 ,with the lips about an inch apart say your words1 whatever they may be1 just as you would the 8ah60 of the bee drone1 concentrating your mind on the effort of directing the sound waves towards the roof of the mouth4 ,in this case1 however1 exhalation should take place very slowly1 while the speech is uttered with unusual clearness4 ,the effect of the illusion1 however1 is destroyed if whilst using the 8roof0 voice you look either straight before you or down to the ground4 ,the ventriloquist must bear in mind that it is important to deceive the audience1 just as a conjurer does1 but the former has this advantage over his magic brother1 that the deception is both optical and oral4 ,let him1 therefore1 when 8throwing his voice0 to the roof1 glance sharply upwards as soon as the words are uttered1 and turn his head in a listening attitude2 his example will be followed immediately by the audience1 who naturally fall into the trap prepared for them1 and1 for the time being1 are quite satisfied that the sounds do really come from the roof4 ,this is an advantage on which the ventriloquist can trade to an enormous extent1 because the ear is so easily deceived4 ,how difficult it is1 when listening from within a closed room to a street organ playing outside1 to tell whether the music comes from up or down the road4 ,so with ventriloquism--the performer has but to modify the position of the vocal chords as indicated1 and to fix his eyes upon the roof1 when lo and behold6 everybody is perfectly satisfied that the speech does come from above4 8,,level0 ,,sounds ,of the three 8distant0 voices1 the 8level0 is1 perhaps1 the most useful and the most generally successful1 because the mere fact of the entertainer being on the same plane as the door and the windows1 from behind which people are supposed to converse with him1 provides him with opportunities for using the facial muscles and for distorting sounds1 and so heightening the illusion4 ,for instance1 whereas he must turn full or three-quarter face when using the 8roof0 voice1 he can carry on a dialogue on the 8level10 sideways to the audience2 or in the case where the stage possesses a door at the rear1 he may often be permitted for a moment to turn his back4 ,practice as before in the 8bee drone0 voice1 without endeavoring to any great extent to shut off the sound in the throat4 ,this may be done by curling up the tongue so that its tip presses against the back of the upper teeth4 ,if you are practicing by the side of the door1 as you open it towards you the ventriloquially uttered sounds must be raised in tone and made more distinct by lifting the shutter from the throat1 or1 in other words1 by allowing the tongue to resume its normal position1 and the sounds to issue forth on the principle of the 8bee drone40 ,,the 8,,floor0 ,,voice ,this voice is extremely useful for such illusions as 8the man in the cellar attending to the gas meter10 c4 ,it calls particularly for a display of histrionic powers1 and the mere fact of bending down1 as the sounds appear to come from below1 helps to give it the necessary subdued and 8distant0 effect4 ,whilst speaking very slowly in the 8bee drone0 thrust the chin forward1 contracting the larynx as much as you possibly can2 roll back the tongue to stifle the sound in the throat1 and the illusion will be complete4 ,immediately you change from the 8floor0 to the natural voice1 resume the standing position and speak with unusual distinctness4 ,the contrast cannot fail to escape the notice of the audience1 who will be quite convinced that you have indeed carried on a conversation with some one below4 ,,ventriloquial ,,imitations ,although imitations can hardly be classed under the heading of pure ventriloquism1 yet they may be pressed into the service of the entertainer to promote variety in his performance4 ,they serve1 too1 another very useful purpose1 inasmuch as they provide a relief from what must inevitably prove a strain on the vocal chords4 ,as has already been said1 ventriloquism necessitates the placing of the vocal chords in a somewhat unnatural position1 and the result is that the exponent1 particularly in the early stages of the work1 is apt speedily to become tired4 ,as a break between an exhibition of 8near0 ventriloquism--that is1 with the automata--and an exposition of distant effects1 one or two vocal or instrumental imitations will prove welcome both to the entertainer and the entertained4 ,a witty person once remarked that the secret of success lies not so much in what you can do1 as in what you can induce other people to think you can do4 ,in other words1 a little knowledge in the hands of a ready-witted and competent ventriloquist can be turned to great advantage and become a valuable asset in his undertakings4 ,for successful imitations1 self-confidence is perhaps of even greater importance than the possession of real ventriloquial powers4 ,self-confidence is a trump card that the ventriloquist should always hold in his hand1 because it will take all the tricks4 ,success is impossible without it1 and easy with it6 ,perhaps there are few branches of entertaining in which self-assurance is so necessary as in ventriloquial mimicry4 ,the border-line between a successful imitation and a ludicrous failure is oft-times so narrow1 that a sensitive soul would soon be disheartened4 ,the only difference between the efforts of the ordinary and the ventriloquial mimic is that the latter1 when giving expression to sounds vocally produced1 should place the chords in the same position as for the 8bee drone0 and the 8distant0 voice4 ,a very good study is that of a hen as she cackles immediately before laying an egg1 and again after having done so4 ,you will notice that the first sounds are mostly of a guttural nature1 and they should come from well back in the throat1 starting moderately high and descending four or five notes4 ,of course the lips will have to be kept slightly opened1 and for the final jubilant crow considerably extended4 ,to avoid the necessary facial movement1 it is as well when uttering the 8crow0 to turn sideways to the audience4 ,again1 while the first note of the cackling should be loud1 the successive notes grow quieter4 ,a ,,dog ,,fight ,an imitation of a dog fight will form a spirited item in your programme4 ,by your actions you may suggest1 for instance1 a small cur yapping vigorously until a larger and more ferocious animal endeavors to quiet him4 ,to produce the higher notes of the dog-bark1 the falsetto or 8thick0 voice must be used1 while the deeper guttural tones already explained for use with the 8darky0 serve for the larger dog4 ,it is a little difficult to intersperse the two sets of sounds without expressing facial contortion1 but you may obtain for yourself a certain amount of license by pretending that the dog fight is taking place beneath a covered table1 behind which you may stoop in your supposed endeavors to stop the tumult4 ,it is but natural to turn from dogs to cats4 ,whereas you have just given an imitation1 perhaps1 of a fierce duel1 your next effort should endeavor to portray a feline courtship4 ,this should be made as funny as possible4 ,the lady's 8marr-rr-ows0 and 8mia-a-a-ows0 are easily copied after you have been kept awake a night or two listening to the genuine article1 whilst the deeper tones of ,mr4 ,tom are included in the repertory of every well-educated schoolboy4 ,the mouth should be kept fairly wide open and a kind of sideways motion given to it1 whilst the cry should be drawled until the lips form for the final 8ow40 ,the spittings and growlings necessitate the bringing together of the lips and teeth1 a freedom which your audience on this occasion must permit you4 ,the doleful moans with which our feline friends endeavor to solace one another can be produced by making the mouth very hollow1 the lips into the form of a large ,o1 slowly contracted to a very small one4 ,for the die-away1 distant effect1 moaning more or less in the throat must be resorted to4 ,the finale can consist of a number of fierce spittings and growlings1 suddenly interrupted by an unmistakably human voice 7your own7 8shoo-ing0 the night visitants away4 ,a variation can be made by giving an imitation of pouring out a glass of wine4 ,to produce the illusion of drawing the cork from the bottle1 turn slightly round1 thrust the forefinger into the mouth against the cheek1 close the lips around the finger1 slowly bring the end of the finger round inside the cheek1 and force it smartly out through the lips4 ,the result will be a loud pop4 ,by moving the tongue from the back of the mouth quickly backwards and forwards1 making it strike against the inside of the gums1 the 8glug1 glug0 of the wine being poured out will be plainly heard4 ,,the ,,lion ,,and ,,the ,,cow ,under the cover of a screen1 the roaring of a lion is simple of accomplishment4 ,use an ordinary lamp chimney1 and give vent to a series of deep-throated roars from this4 ,the effect will both be natural and startling4 ,with the same instrument the deep lowing of a cow can be perfectly imitated1 the lips producing the familiar 8moo10 the sound being gradually drawled through the glass chimney4 ,to copy a saw at work is quite easy4 ,get a ruler1 or some similar article1 to represent the saw1 and draw it backwards and forwards as though cutting a piece of wood4 ,the sound is best made by clenching the teeth1 placing the tongue a little forward between the upper and lower teeth1 quickly inhaling and exhaling the air4 ,the resultant noise will be an exact imitation of the saw cutting its way through the wood4 ,quite an effective item is the ascent of a rocket4 ,by blowing hard through pursed lips1 and striking the mouth rapidly with sharp little blows with closed fingers1 the curious sound of an ascending rocket may be reproduced with perfect fidelity4 ,this slowly fades away1 there is a moment's pause1 and then the final pop as the stars burst4 ,naturally such an imitation should be performed in the shelter of the screen4 ,as a last example1 an imitation of the itinerant knife-grinder may be attempted4 ,keep the lips and the teeth closed to produce the rasping up and down of the steel upon the grindstone1 the while working an imaginary treadle with the right foot4 ,,the ,,complete ,,entertainment ,by this time the young ventriloquist should have at his command both 8near0 and 8distant0 voices and imitations4 ,it only remains to say a few words regarding the manner of giving an entertainment4 ,although smart dialogue is very entertaining1 it is apt1 after a little while1 to pall2 and to obviate this it will be found well to introduce an occasional song or comic recitation4 ,in both cases these may take the form of parodies1 but in the former a serious song really well sung by the ventriloquial figure will evoke both admiration and applause4 ,those not possessed of particularly good vocal qualifications may feel that the singing of a song successfully is beyond their capabilities4 ,they should1 however1 bear in mind that nothing like 8finish0 or cleverness in execution is expected from a wooden figure4 ,one or two verses and the chorus are quite enough to venture upon1 as singing ventriloquially is extremely tiring4 ,the best time to introduce a song is when dialogue between yourself and the automata has been in progress for seven or eight minutes4 ,either the little boy or the old man or the old woman can essay to try his or her skill as a vocalist1 or the affair may be competitive4 ,much amusement may be caused by the little boy extolling his own skill as a vocalist1 and the darky challenging him4 ,to settle the matter1 let one sing the first verse of a song and the other the second1 the little boy making a terrible hash of his part of the performance4 ,if his mistakes are greeted with groans of derision from the old man1 or cries of horror from the old woman1 the audience will be immensely pleased4 ,while the song is in progress1 the ventriloquist should look about him unconcernedly1 feigning total disinterestedness in the affair4 ,towards the end of the song he may glance sharply once or twice at the singer and applaud him for his effort1 which applause it is to be hoped the audience will generously supplement4 ,it is not intended that these few observations on the art of ventriloquism should be taken as covering all the ground over which this fascinating subject spreads4 ,enough has been said1 however1 to show any one who is sufficiently interested how to give a really pleasing drawing-room performance which shall earn for him the reputation of being quite a creditable exponent of the wondrous and mystifying art of ,valentine ,vox4 ,,chapter ,,xx ,,conjuring ,,for ,,all ,,magic ,,memorized ,,it is said that at some period of his life every boy becomes stage-struck1 and it may be averred with equal truth that sooner or later every boy is seized with a desire to become a conjurer4 ,considering the fascination to old and young alike of a conjuring entertainment1 this is not to be wondered at4 ,but when the would-be conjurer begins to realize the years and years of practice necessary before he can accomplish his desire1 he soon despairs2 and instead of proudly mounting the platform as an entertainer1 he finally satisfies himself by humbly occupying a chair as one of the entertained4 ,it is the purpose of this chapter1 however1 to set forth a complete conjuring entertainment in such a manner that anybody can easily learn and perform it1 in precisely the same manner as they would memorize and deliver a recitation4 ,before proceeding with the tricks themselves1 it will perhaps be advisable1 for the sake of the uninitiated1 briefly to describe how to fit up a handy conjuring table4 ,illustration3 ,,fig4 #a4--;,a handy conjuring table4 ,procure a small wooden box about six inches deep and one foot in length and width1 and stand it in the center of a small gypsy-table4 ,then artistically drape one or two flags1 or a brightly-colored cloth over it 7,fig4 #a74 ,it will be noticed that a portion of the table at the back of the box is left vacant4 ,this1 in the dialect of the profession1 is known as the servante4 ,it is used for secretly disposing of objects during the performance4 ,the magic wand simply consists of a decorated circular stick about ten inches long4 ,each trick will be dealt with in three separate parts4 ,the first will describe the illusion from the point of view of the audience2 the second will explain the apparatus required2 and the third the 8patter0 accompanying each trick4 ,presentation4--,as seen by the audience1 the first trick is as follows3 ,two ping-pong balls are lying upon the table1 and the conjurer requests a member of the audience to choose one4 ,this having been done1 the performer picks up the selected ball and commences gently rubbing it in the palms of his hands1 when to the amazement of the audience1 the ball is seen to change into a couple of handkerchiefs6 ,the conjurer places one of these upon the table1 and proceeds to wrap up the other in a piece of pink paper4 ,blowing out a candle which has been standing in a candlestick upon the table1 the performer wraps that also into a similar parcel1 using white paper instead of pink4 ,he next places the two parcels at opposite ends of the table1 in full view of the audience4 ,after making one or two passes with the magic wand1 the conjurer picks up the parcel containing the candle4 ,he then tears it open1 when it is found to contain the handkerchief4 ,upon the remaining parcel being examined the candle is discovered within it4 ,apparatus required4--7#a7 ,two ping-pong balls4 ,a large hole must be bored in one by means of a penknife4 ,illustration3 ,,fig4 #b4--;,false candle containing handkerchief4 7#b7 ,three small silk handkerchiefs4 ,two of these should be stuffed into the prepared ball through the hole4 ,both balls must then be placed upon the conjuring table--the hole in the prepared one being turned away from the audience4 7#c7 ,an ordinary candle wrapped in a piece of pink paper1 and concealed in readiness on the servante4 ,another piece of pink paper and a piece of white should also be ready at hand4 7#d7 ,a 8false0 candle4 ,this is made by gumming a piece of white paper into the form of a cylinder1 and sticking a slice from a real candle in one end4 ,the third handkerchief must be stuffed into the 8false0 candle 7,fig4 #b71 which should then be placed in a candlestick4 ,from a short distance it will be impossible to distinguish this candle from the genuine article1 and the effect will be considerably heightened by the candle-end being lit4 ,patter4--,the conjurer comes forward to the front of the platform and delivers himself somewhat after the following3-- 8,ladies and gentlemen--you will observe upon my table two ping-pong or table-tennis balls4 ,they are quite innocent-looking1 and although in appearance they somewhat resemble eggs1 will not be found half so deceptive4 ,will some lady or gentleman kindly select one80 ,if the ball containing the handkerchief is selected the conjurer picks it up and proceeds with the trick4 ,should the other be chosen1 however1 it makes no difference4 ,the entertainer simply hands it to the person who has made the selection1 and remarks3 8,very well4 ,would you mind taking the ball you have chosen and examining it80 ,upon the person complying with his request1 the conjurer picks up the remaining ball--the prepared one--and continues with the trick4 8,ladies and gentlemen10 he says1 slowly rubbing the ball between the palms of his hands1 and carefully extracting the first handkerchief from its interior 7a simple effort in sleight-of-hand1 quickly acquired71 8we will now see what effect a little friction has4 ,ah6 ,something is happening already60 ,the performer allows the second handkerchief to stream forth1 and then gradually opens his hands1 taking care that one of the handkerchiefs completely covers the ball and hides it from view4 ,he then lays the handkerchief sheltering the ball carelessly upon the table4 ,if this is done in a natural manner1 the audience will not have the slightest suspicion that it covers anything at all4 ,holding the remaining handkerchief up to view1 he continues3 8,we will now see whether this inherits any of the marvelous properties of the ball from which it was produced4 ,i have here a piece of paper40 7,holds up the red paper47 8,it contains neither trap-doors1 hidden mirrors1 nor other mechanical contrivances4 ,the reason for my using pink paper is that it insures the trick being performed to the pink of perfection4 ,i will now proceed to roll up the handkerchief in the paper40 ,this is done1 the performer taking care to make the parcel exactly similar in shape to that of the candle on the servante4 ,during the wrapping-up process1 however1 he carelessly drops the parcel on the servante4 ,with a muttered excuse for his clumsiness1 the conjurer again resorts to quickness of the hand1 and picks up the parcel containing the candle4 ,the very audacity of this movement will effectually keep the audience from suspecting that a substitution has been effected4 8,i will now take this candle and wrap it in the piece of white paper ,i have here4 ,by the way1 can any one tell me what nobleman could very well be represented by a burnt-out candle8 ,no one8 ,why1 the ,earl of ,wicklow60 7,he blows out the 8false0 candle and wraps it in the white paper47 8,you see ,i have now two parcels--the pink one containing the handkerchief1 the white one containing the candle4 ,i will place them at opposite ends of the table1 and make a few passes with my magic wand40 ,the performer waves the wand a few times4 ,then1 seizing the packet containing the 8false0 candle1 he rips it open1 thus tearing the paper cylinder1 and revealing the handkerchief4 ,the small wax candle-end will escape observation amongst the torn paper1 and the audience will be under the impression that the candle has changed to a handkerchief4 8,will a gentleman kindly step forward and examine the remaining parcel80 7,upon the examination being made it is found1 of course1 to contain the candle47 8,what6 ,the handkerchief and candle appear to have disagreed with the quarters ,i originally allotted them1 and have changed places6 ,i think you will agree with me that this little experiment has terminated in a very interesting manner4 ,i think you will also agree that ,i have not once attempted to deceive you1 as the whole of the experiment was conducted before your very eyes40 ,the second trick might very aptly be entitled ,,the ,,dye-,,works ,presentation4--,the conjurer hands round for inspection a small sheet of white paper4 ,upon its being returned1 he rolls it into a cylinder4 ,taking a couple of red silk handkerchiefs from the table1 he proceeds to poke them into the tube by means of the magic wand4 ,he continues to force them down until they at length make their appearance at the other end4 ,during this short passage through the tube1 however1 an astonishing transformation has ensued4 ,instead of the handkerchiefs being red1 one emerges a deep blue and the other yellow6 ,yet upon the roll of paper being passed round for inspection it is found to be perfectly empty4 ,illustration3 ,,fig4 #c4--;,cardboard tube with silk bag and handkerchief attached4 ,apparatus required4--7#a7 ,two red1 one blue1 and a yellow silk handkerchief4 7#b7 ,a sheet of stout white paper about six inches long by five wide4 7#c7 ,a small cardboard tube about three inches long and an inch and a half in diameter4 ,a section cut from an ordinary postal tube will do admirably4 ,a small bag of yellow silk must be sewn by its edges to the interior of this tube 7,fig4 #c74 ,the yellow handkerchief should next be stitched by its center to the bag1 as is shown in the same diagram4 ,this done1 both the yellow and blue handkerchiefs must be forced into the cardboard tube until they are completely hidden4 ,there will be no difficulty in doing this1 as silk can be made to occupy a very small space4 ,the bag1 of course1 will prevent the handkerchiefs coming out at the other end4 ,the cardboard tube and its contents should then be placed upon the table1 and the two red handkerchiefs laid carelessly over it in order to obscure it from the view of the audience4 ,patter4--8,i have here an ordinary sheet of white paper4 ,i intend1 however1 to turn it to a rather extraordinary purpose2 in fact1 to manufacture with it a dye-works6 8,i first roll the paper into a cylinder--so4 ,please notice that ,i do not attempt to insert anything as ,i do so40 ,the performer rolls up the paper1 taking care to make it sufficiently large to admit the little cardboard tube4 8,i have also two red silk handkerchiefs4 ,every lady present to-night will know how very difficult it is to dye anything that is red4 ,nevertheless1 ,i am going to put these handkerchiefs down my dye-works' chimney40 ,he picks up the handkerchiefs--with the tube still hidden in them--and apparently attempts to poke them into the cylinder4 ,in reality1 however1 he only inserts the cardboard tube1 and then pauses1 as though in doubt4 8,well1 ladies and gentlemen1 it appears as if ,i haven't built my dye-works large enough to receive both handkerchiefs together4 ,i think it will be advisable1 therefore1 to insert them singly40 ,the conjurer proceeds to place first one and then the other handkerchief in the tube4 ,then1 taking up his magic wand he rams them well down4 ,this has the effect of forcing them both into the small cardboard tube1 thus liberating the blue and yellow handkerchiefs4 8,ah6 ,i see that one of the handkerchiefs is issuing from the basement of our dye-works4 ,and the color has been altered during its journey6 ,here comes the other straight from the mangle1 and1 as you will observe1 it is now dyed yellow4 ,the dye-works has proved most successful4 ,in fact1 ,i believe that if ,i'd inserted a third handkerchief it would have come out folded and ironed60 ,illustration3 ,,fig4 #d4--;,handkerchief covering small cardboard tube drawn from cylinder4 ,so saying1 the conjurer takes the yellow handkerchief by its middle and draws it from the paper cylinder4 ,the cardboard tube1 with the red handkerchiefs safely in it1 will1 of course1 be drawn out at the same time4 ,the folds of the yellow handkerchief1 however1 will completely hide it 7,fig4 #d74 ,the conjurer then throws the paper cylinder amongst the audience1 with the remark-- 8,there you are1 ladies and gentlemen4 ,as ,i am of a philanthropic nature1 ,i will let you have my dye-works free of charge1 with full permission to make whatever use you like of them40 ,the third trick may be called ,,the ,,dissolving ,,coin ,presentation4--,the conjurer1 standing a glass of water upon his table1 borrows a quarter1 and places it in the center of a loaned handkerchief4 ,he then requests a member of the audience to hold it over the glass so that the folds of the handkerchief hang around it and completely hide it from view 7,fig4 #e74 ,the performer next asks the person holding the coin to let it drop into the water4 ,he does so1 and the audience hear it tinkle as it strikes the bottom of the glass4 ,but when the handkerchief is removed1 the quarter has disappeared6 ,illustration3 ,,fig4 #e4--,the dissolving coin4 ,illustration3 ,,fig4 #f4--,quarter found inside the orange4 ,a dish containing a number of oranges is standing upon the table4 ,the conjurer picks up a knife and plunges it into one4 ,passing it to a member of the audience1 he requests him to cut it open4 ,upon this being done the quarter is discovered embedded in the center of the fruit 7,fig4 #f74 ,apparatus required4--7#a7 ,a glass of water4 7#b7 ,a silver quarter4 7#c7 ,a watch-glass the size of a quarter4 ,one can be purchased for five cents from any watch repairer's4 7#d7 ,a dish of oranges4 ,a small cut must be made in one of them1 and the quarter forced into the incision4 ,the prepared orange should then be replaced upon the dish1 care being taken that its position is remembered4 ,patter4--8,it is always a conjurer's duty1 during some part of his entertainment1 to borrow4 ,the time is now ripe for me to perform that pleasant duty4 ,will some one kindly supply me with a quarter and a handkerchief80 ,as the performer walks amongst the audience to obtain the handkerchief1 he secretly takes the watch-glass from his waistcoat pocket--where it has been placed in readiness4 ,as he returns to his table with the handkerchief and the coin1 and whilst his back is to the audience1 he must again resort to sleight-of-hand and substitute his watch-glass for the coin1 which can either be slipped into his waistcoat pocket1 or dropped surreptitiously on to the servante4 ,the performer then faces the audience1 holding up the watch-glass instead of the coin in the center of the handkerchief4 8,i have placed the quarter in the handkerchief1 and should now like the assistance of a young gentleman4 8,thank you1 sir4 ,would you mind holding this coin over the glass and let it fall into the water when ,i count three8 ,thank you6 ,one--two--three6 ,you're sure you dropped it8 ,well1 will you please remove the handkerchief1 thus taking the quarter from the water40 7,the watch-glass1 being transparent1 will be invisible at the bottom of the glass1 and the assistant will immediately declare that the coin has vanished47 8,it's gone1 you say8 ,that's rather awkward for the gentleman from whom ,i borrowed it4 ,but perhaps you'd like to pay him back yourself8 ,you strongly object8 ,well1 ,i must see what ,i can do60 ,the conjurer walks over to the dish of oranges4 8,in order to see how this trick is done1 ladies and gentlemen1 you must keep one eye upon me1 one eye upon that dish of oranges1 and the other upon the gentleman who is assisting me4 ,what's that8 ,you haven't three eyes8 ,i think you are mistaken4 ,first there's your right eye2 then there's your left eye2 and your nect7eye7ie makes the third40 ,the performer then plunges a knife into the prepared orange and hands it to his assistant4 8,would you mind cutting that in half80 7,upon doing so the young gentleman will1 of course1 find the coin embedded in the fruit47 8,you have found the missing coin in its center8 ,i consider it rather clever of me to purchase for a few cents oranges that grow quarters4 ,would you mind returning the coin to its owner2 and ,i must thank you for the very able assistance you have afforded me40 ,the next trick may be called ,,the ,,watch ,,and ,,target ,presentation4--,the conjurer borrows a watch from a member of the audience and wraps it in a piece of paper4 ,he next places it in the muzzle of a pistol1 and then stands a target upon the table4 ,handing the pistol to a gentleman in the audience1 the performer requests him to fire at the target4 ,there is a loud report1 and--hey1 presto6--the watch is found swinging in the center of the target6 ,and upon the paper parcel which contained the watch being removed from the pistol's muzzle it is found to be perfectly empty4 ,illustration3 ,,fig4 #g4--;,conjuring pistol1 showing flanged cap4 ,illustration3 ,,fig4 #h4--;,cup or pan to fit into muzzle of pistol4 ,apparatus required4--7#a7 ,a piece of paper in which to wrap the borrowed watch2 and a second piece of the same size and color4 ,this must be folded to create the impression that it contains a watch4 7#b7 ,an ordinary toy pistol4 ,this must be taken to a tinsmith1 in order to have a tin muzzle of the shape shown in ,fig4 #g soldered to the barrel4 ,it will also be necessary for the tinsmith to make another very important addition to the pistol4 ,it consists of the little pan illustrated in ,fig4 #h4 ,this pan fits into the muzzle4 ,but in order that it may not sink down too far1 and can be removed easily1 a flange must be made round the edge1 as shown in ,figs4 #g and #h4 ,before commencing the trick1 the piece of paper folded into the shape of a watch must be placed inside the muzzle1 and the tin pan fitted into position on top of it4 ,illustration3 ,,fig4 #i4--,showing front of target4 ,illustration3 ,,fig4 #aj4--;,back of target with revolving center4 7#c7 ,a target 7,fig4 #i74 ,this target1 as might be anticipated1 is not so simple as it looks4 ,the 8bull's-eye0 at the center must be cut completely out with a fretsaw1 and then replaced again on the two pivots 7,b ,b1 ,fig4 #aj74 ,a small wooden clip should next be fixed in the position illustrated by ,c1 and a piece of elastic fastened to the 8bull's-eye0 at ,a1 and stretched to the other side of the target4 ,it will now be observed that the tendency of the elastic is to make the 8bull's-eye0 revolve upon its pivots4 ,the wooden catch ,c1 however1 prevents this happening4 ,the catch is secured to the target by a single nail or screw1 in precisely the same manner as the 8button0 is fixed to an ordinary cupboard door4 ,a piece of black thread must be fastened to one end of the catch1 and carried down behind the target through a series of hooks made from bent pins 7,d1 ,fig4 #aj74 ,a pull at the thread thus causes the wooden catch to release the 8bull's-eye10 which will instantly be forced round upon its pivots by the elastic1 and show the other side3--which must be similarly painted with rings--to the audience4 ,to complete the target1 drive a small hook into the center of the 8bull's-eye40 ,the finished article must then be placed behind a screen in readiness for the performance4 ,illustration3 ,,fig4 #aa4--,the elastic at ,a will be found invaluable to the young conjurer4 7#d7 ,lastly1 a small piece of black elastic should be sewn across the ,v-shaped opening at the bottom of the conjurer's waistcoat1 as shown in ,fig4 #aa4 ,this keeps the bottom of the waistcoat perfectly tight1 thus making a handy receptacle for any article the performer may poke up it out of sight4 ,patter4--8,ladies and gentlemen--,i was so successful in borrowing for my last trick1 that ,i am encouraged to be a little less timid in my requests4 ,will some gentleman kindly lend me his watch8 ,thank you1 sir6 ,i may muddle up the wheels a bit during my experiment2 but ,i suppose you don't mind that1 provided the watch looks all right when ,i return it8 ,now1 sir1 would you mind wrapping your watch up in this piece of paper80 ,whilst the lender of the watch is engaged in wrapping up his property1 the conjurer walks to the table and returns with the pistol in his hand4 ,he then takes the parcel from the gentleman1 and apparently places it in the muzzle4 ,in reality1 however1 it is put only into the small pan4 ,the performer turns round1 and walks towards his table4 ,holding the pistol well into the body so that it is completely screened from the audience1 he quickly places his right hand over the muzzle1 and grips the flange with his thumb and little finger4 ,it is then only the work of a moment to lift the pan and its contents from the pistol1 and poke it under his waistcoat4 ,as the performer's back is to the audience1 these rapid movements escape observation4 ,upon reaching the table the conjurer lays down the pistol1 faces the audience1 and says3 8,well1 now that ,i've got my ammunition1 ,i suppose ,i'd better get a target40 ,he retires behind the screen sheltering the target4 ,hastily taking the pan from his waistcoat1 he tears the watch from the paper1 and hangs it upon the hook on the reverse side of the 8bull's-eye40 ,then1 returning to the platform1 he places the target upon the table1 and taking up the pistol1 says3 8,will the gentleman who lent me the watch kindly take this pistol and fire at the target when ,i count three80 7,upon taking the pistol the gentleman will see the second piece of paper in the muzzle1 and imagine that it contains the watch47 8,are you ready8 ,one6--,i hope you are a good shot4 ,two6--,mind you don't hit me instead of the target4 ,,three60 ,as he utters the last word the conjurer pulls the thread1 and simultaneous with the report of the pistol1 the 8bull's-eye0 flashes round and reveals the watch hanging to its center4 ,of course the thread must be sufficiently long to permit the performer to stand a short distance from the target4 ,against a dark background the thread will be quite invisible to the audience4 ,upon the second parcel being examined it will1 of course1 be found quite empty4 ,,chapter ,,xxi ,,some ,,knotty ,,points ,,secrets ,,of ,,handkerchief ,,manipulation ,illustration3 ,,fig4 #a4--;,handkerchief twisted for the performance4 ,illustration3 ,,fig4 #b4--,the one hand knot4 ,,the following explanations are intended to provide the beginner with the knowledge necessary to perform a few of the simple but neat tricks which can be done with no other apparatus than a handkerchief4 ,for a short turn or 8gag0 these tricks are effective and useful1 whilst their very simplicity renders a quick return for the little trouble required to learn them4 ,a good-sized silk handkerchief must be procured4 ,before making any of the knots it should be twisted like a rope 7,fig4 #a74 ,being of silk1 the handkerchief will not untwine easily4 ,,the ,,one ,,hand ,,knot ,this knot is very simple to make4 ,hold the handkerchief1 bent double1 across the right hand 7,fig4 #b74 ,now1 suddenly drop the hand1 letting the fingers pass over the end1 ,a1 and catch the end1 ,b1 at the point1 ,c1 between the first and second fingers4 ,let the remainder of the handkerchief slip off the hand1 giving it a sharp flick1 which will tighten the knot already loosely formed4 ,practice constantly until the whole movement can be done very rapidly4 ,to the spectators it will appear as if you have suddenly flicked the handkerchief into a knot1 and the effect will be striking4 ,,the ,,wrist ,,knot ,stretch the handkerchief between the finger and thumb in both hands1 as in ,fig4 #c4 ,cast a loop towards the left hand1 taking care that it is thrown outwards4 ,as the loop is made1 the left hand1 still with the end of the handkerchief between finger and thumb1 is passed smartly through the loop from the outside--shown by the dotted lines in the illustration4 ,this loop is now loosely round the left wrist1 and the knot can be made taut by pulling the ends with both hands4 ,the instant it is drawn tight let go of the ends of the handkerchief1 and the result will be that a simple twitch of the right hand has seemed to tie a knot firmly round your left wrist4 ,,the ,,double ,,bow ,this very pretty trick can be accomplished by making a double bow with a rapid turn of the hands4 ,hold the twisted handkerchief in both hands1 as shown by ,fig4 #d4 ,the two hands are marked ,l and ,r--i4e41 left and right respectively4 ,now bring the right hand round and past the left1 as indicated by the dotted lines1 and nip the handkerchief at the point ,a with the first and second fingers of the right hand4 ,illustration3 ,,fig4 #c4--,the wrist knot4 ,illustration3 ,,fig4 #d4--,the double bow4 ,by doing this you have naturally brought the point ,b opposite the first and second fingers of the left hand1 between which it should be similarly nipped4 ,during all these movements the remaining fingers and thumbs of each hand should retain their original hold on the handkerchief4 ,having now taken hold of both the points ,a and ,b1 straighten your hands and pull apart1 still retaining the hold of the first and second fingers4 ,as a result you will find the handkerchief tied in a double bow1 which1 if the movements have been done quickly and well1 will seem to have been accomplished by some strange effect of magic4 ,,the ,,instantaneous ,,knots ,these knots can be made at each end of the handkerchief by the following method4 ,hold the handkerchief in the position shown in ,fig4 #e1 where it appears lying over the third and fourth fingers with the two ends1 ,a and ,b1 hanging beyond the thumbs4 ,the movements are done in the same way and simultaneously with both hands1 and it will therefore suffice to describe the action of your right hand4 ,illustration3 ,,fig4 #e4--;,instantaneous knots4 ,bring the first and second fingers 7#a and #b1 ,fig4 #e7 over ,c1 catching hold of the end1 ,a1 behind the wrist4 ,this will be easy after a few attempts1 but you must be careful to see that the end ,a is of fair length1 otherwise the trick will be impossible4 ,now bring the end ,a up through the resulting loop by means of the two fingers4 ,the consequence will be a knot in the end of the handkerchief4 ,your left hand has1 meanwhile1 been doing the same thing and with equal rapidity1 so that it will appear to the spectators that1 by a sudden flash of the hands1 you have formed two tight knots1 one at each end of the silk4 ,a ,,flick ,,knot ,hold the handkerchief stretched between your two hands in the manner shown in ,fig4 #f--that is1 inside the first and second1 and outside the third and fourth fingers of each hand4 ,illustration3 ,,fig4 #f4--;,a flick knot4 ,give the left hand a half turn1 as in ,fig4 #g1 thus enabling the first and second fingers of the right hand to grip the end ,a1 whilst at the same moment the thumb and third finger of your left hand catch hold of the end ,b4 ,illustration3 ,,fig4 #g4--,second stage of the flick knot4 ,slip free the fingers of the left hand1 excepting those holding the handkerchief1 and you will find a loosely made knot4 ,a smart flick of the right hand will now complete the trick1 and if you have done all this very rapidly none of the movements will have been noticed by the audience4 ,,the ,,disappearing ,,knot ,the foregoing remarks have dealt entirely with making knots in the handkerchief4 ,by following the instructions now given you will be able to make a knot disappear entirely4 ,take two differently colored handkerchiefs--red and white1 for instance1 and cross them1 as in ,fig4 #h4 ,now make a simple knot similar to that shown in ,fig4 #i4 ,by laying ,d over ,c and making another simple knot1 as in ,fig4 #aj1 the red end will appear on the left1 whilst the white end will be on the right4 ,this is called a ,grannie's knot4 ,illustration3 ,,fig4 #h4--;,colored silks for disappearing knot4 ,illustration3 ,,fig4 #i4--,simple knot for disappearance4 ,illustration3 ,,fig4 #aj4--;,grannie's knot4 ,it is now plain that if you take hold of each end of the red handkerchief it can be pulled quite straight and entirely free of the turns so closely resembling a genuine knot4 ,heighten the deception1 however1 by seizing the end ,d and the bulk of the red handkerchief and pulling them with all your strength4 ,the knot will now appear to have been tied most securely4 ,take several handkerchiefs and tie them in the same way1 making apparently a well-fastened rope to be exhibited to the spectators4 ,bunch them all together on a table1 and under cover of the folds pull all the ends free1 exhibiting as a result a number of separate handkerchiefs1 not one of which has a knot of any description4 ,,chapter ,,xxii ,,black ,,stage ,,mysteries ,a ,,wily ,,worker ,,of ,,wonders ,,the best method by which to advocate the 8black stage0 as a means of entertainment1 will perhaps be to describe one of the many illusions that can be produced with its aid4 ,the audience first witnesses the performer--who is generally made up as a ,chinaman--and a young lady dressed in white1 standing in the center of a small 8black stage10 as shown in ,fig4 #a4 ,illustration3 ,,fig4 #a4--,the floating head4 ,the performer then throws a white cloth over the lady's head4 ,without a moment's pause he draws it away again1 and--hey1 presto6--the lady is headless6 ,the ,chinaman next takes a larger cloth1 and holds it before the lady in such a manner that she is entirely hidden from the spectators4 ,a second later1 however1 he drops the cloth to the ground4 ,this time the audience is treated to the spectacle of the head of the lady floating in the air4 ,more wonderful still1 the head can speak1 sing1 and answer any questions that may be put to it4 ,after a while the illusionist picks up the cloth1 and holding it before the head1 once more cuts off the view of the spectators4 ,upon its being drawn away for the third time1 nothing whatever is visible--even the mysterious head has vanished4 ,but when the cloth is held up again and withdrawn1 the young lady--in her entirety--appears1 and after bowing to the audience1 walks unconcernedly off the stage4 ,almost every well-known conjurer has stated at one time or another that the secret of his success may be summed up in the one word--practice4 ,but there are very few young ladies who would have either the courage or the ability to practice being decapitated4 ,the ordeal might prove a trifle too exciting4 ,however1 they may pass through it without fear if the following method1 given in explanation of the illusion1 be adopted4 ,the interior of the stage must be fitted throughout with black cloth4 ,the lights in the room are lowered1 the only illumination of any brilliance being a row of candles or lamps1 at the side of the stage4 ,these are equipped with tin reflectors1 so that the light1 instead of shining on the stage1 is projected into the eyes of the audience4 ,the effect of this is that1 whilst any white object can be seen quite plainly by the spectators1 everything black remains invisible4 ,when the performer envelops the young lady's head in the white cloth1 he at the same moment throws over her a piece of black material of similar size and shape1 attached to it by one corner4 ,when he removes the white cloth1 however1 he allows the black cloth to remain1 thus veiling the head and apparently causing it to disappear4 ,another and larger piece of black material is similarly hidden in the folds of the second white cloth4 ,directly the performer spreads this before the lady assistant1 so that she is hidden from the audience1 she rapidly pulls off her head-veil1 and taking the large black sheet1 muffles herself in it up to the neck4 ,consequently only her head remains visible4 ,in order to disappear entirely1 it is only necessary for her to replace the head-veil or to pull the larger black cloth up over her face4 ,,the ,,essential ,,assistant ,it is usual when working illusions of this description to have the assistance of a third person4 ,this assistant must be dressed completely in black1 with black gloves and a black mask4 ,the latter can very easily be made from a piece of silk1 or any other material that is slightly elastic4 ,it should be stitched into the form of a cylinder sufficiently large to pull over the head4 ,two eyeholes are then cut in the desired position1 and the mask is complete 7,fig4 #e74 ,garbed in this somber attire1 the assistant is able to move about the stage quite freely without being seen by the audience1 and to lend powerful but invisible aid in accomplishing many first-class deceptions4 ,however1 this point will be referred to later1 and attention should now be turned to the construction of the 8black stage0 itself4 ,illustration3 ,,fig4 #b4--,the finished frame4 ,fig4 #a illustrates the appearance of the finished stage1 and ,fig4 #b shows the framework of which it is constructed4 ,this framework is comprised of a number of laths fastened together by the method shown in ,fig4 #c4 ,a small metal rod--a long nail with the head filed off will suffice--is driven into each upright lath4 ,this must be done carefully or the wood will split4 ,next a hole is bored by means of a drill or red-hot poker in each of the laths fitting upon these uprights4 ,by placing the hole in each cross lath over the nail in the upright lath1 as shown in ,fig4 #c1 the framework can easily be put together or taken to pieces1 when it is necessary to convey the stage from one point to another4 ,illustration3 ,,fig4 #c4--,laths fastened together4 ,illustration3 ,,fig4 #d4--,method of joining laths of frame4 ,illustration3 ,,fig4 #e4--;,cloth or silk mask4 ,fig4 #d depicts the mode of fixing two laths together lengthwise4 ,instead of having one long lath1 it considerably facilitates conveyance if two smaller laths are joined by two thumbscrews as shown in ,fig4 #d4 ,a joint of this description is also shown at ,c1 ,fig4 #b4 ,as can be seen by the diagram1 the framework is simply a skeleton box2 but a little way beyond the center another lath should be carried across at the top 7,a ,b1 ,fig4 #b74 ,two curtains of black cloth must be obtained and fastened to this lath so that they overlap at the center 7,d1 ,fig4 #b74 ,it will now be noticed that this curtain divides the stage into two separate compartments4 ,the first of these is the stage proper1 upon which the illusionist performs his various mysteries4 ,the second compartment is reserved to provide an exit for the performer and his assistants1 the flap in the curtains acting as a doorway4 ,some of the apparatus required for the various illusions may also be kept here during the performance4 ,the dimensions of the stage depend entirely1 of course1 upon the size of the room in which the entertainment is to be given4 ,the minimum width1 or 8length of frontage10 should not be less than ten feet1 and the distance from the front of the stage to the beginning of the partition curtain not less than six feet4 ,the distance from the partition curtain to the back of the stage is not of great importance4 ,provided there is room for the assistant to move about1 this is all that is required4 ,two and a half feet is ample4 ,the following dimensions will be found about as convenient as any2 but if the reader is in a position to construct a larger stage1 so much the better4 ,frontage1 #ab ft42 height1 #g ft4 #f in42 distance from front to partition curtain1 #g ft4 #f in42 from partition curtain to back of stage1 #c ft4 ,having decided upon the measurements of the stage1 a further supply of black cloth must be procured and fitted completely over the framework4 ,it is preferable to have this cloth already stitched into shape 7,fig4 #f71 so that it can be simply drawn on over the box-like structure of laths4 ,illustration3 ,,fig4 #f4--;,cloth covering for frame4 ,it is also necessary to spread another piece of black cloth upon the floor4 ,lastly1 the stage front must be decorated4 ,these decorations consist merely of two curtains hooked at each side of the opening1 and a frieze draped along the top lath1 as shown in ,fig4 #a4 ,the lighting arrangements must be left largely to the discretion of the reader4 ,if he be a 8handyman10 he can fit four incandescent gas burners to the front of the show4 ,a very effective1 although primitive1 method of lighting is illustrated by ,fig4 #g4 ,two pieces of wire are hooked to the top lath1 a pair at each side1 and three small bull's-eye lanterns fastened at intervals to them 7see diagram74 ,illustration3 ,,fig4 #g4--,method of lighting4 ,illustration3 ,,fig4 #h4--;,another method of lighting4 ,yet another method is depicted in ,fig4 #h4 ,about half-a-dozen holes are bored in a piece of gas-piping1 which is stopped at one end4 ,ordinary burners are screwed into these holes and tin reflectors attached4 ,the whole arrangement is then bound securely to the top lath after the framework has been fitted together4 ,it is then necessary only to fix a length of gas-tubing from the open end of the pipe to the nearest gas-fitting4 ,if the reader decides upon the latter method of illumination1 his best course will be to go to a plumber and place the job entirely in his hands4 ,the chief thing to bear in mind is1 that no light must shine into the stage1 the only illumination being projected into the eyes of the spectators1 thus dazzling their vision as much as possible4 ,the stage described can1 of course1 be greatly improved upon4 ,the above description is intended simply as a rough guide for the boy whose skill in carpentry does not extend much beyond knocking a nail or tin-tack properly into a piece of wood1 which1 by the way1 is not such an easy task as most people imagine4 ,having constructed a stage suitable for working purposes1 we may proceed with another illusion4 ,,the ,,floating ,,barrel ,the performer1 who1 as previously stated1 should be dressed as a ,chinaman1 or in a white costume of some description1 stands alone in full view of his audience4 ,presently he makes a beckoning motion1 and a large white barrel floats slowly into view4 ,to the amazement of the spectators1 it drops gently to the ground at the magician's feet4 ,he then turns to the other side of the stage and repeats the beckoning motion4 ,immediately a second barrel makes its appearance1 and deposits itself on the ground a short distance from the first4 ,turning to the audience the performer borrows a dozen or so rings1 chains1 and other trinkets4 ,walking back to the stage1 he holds the borrowed trinkets above the mouth of one barrel1 and clearly drops the mass of jewelry into it4 ,the next moment1 without a second's pause1 the illusionist seizes the barrel and turns it upside down4 ,nothing falls out4 ,it is perfectly empty6 ,thereupon he darts to the other barrel1 turns it over1 and out shower the trinkets4 ,the performer replaces them1 and immediately overturns that barrel as he did the first4 ,but once again the jewelry is found to have disappeared4 ,nor can it be discovered in the other barrel4 ,retreating to one side of the stage1 however1 the illusionist waves his hands4 ,there is a slight flash1 and a small ,japanese table is seen standing in the center of the stage1 with the trinkets heaped upon it4 ,this is a very effective illusion1 but it can be even improved upon1 as the reader will see when he has read the following simple explanation of the trick4 ,its success lies almost entirely with the 8black0 assistant previously referred to4 ,the 8floating0 barrels are simply carried in by this assistant1 who must take care to hold them in such a manner that his black-gloved hands do not show up against the white wood4 ,whilst the performer is collecting the articles of jewelry the assistant holds a small bag or sack in the mouth of the barrel4 ,consequently1 when the performer drops the trinkets into the barrel1 they in reality enter the sack1 when it is a simple thing for the assistant to transfer them to the second barrel--the black bag rendering them invisible during transit4 ,immediately the performer appears to deposit the trinkets in the barrel for the second time1 the assistant again secures them in his small sack4 ,this time1 however1 he carries them to the side of the stage1 where a ,japanese table has been placed in readiness out of sight of the audience4 ,this table is draped with black cloth1 which1 as already explained1 makes it invisible4 ,the assistant merely lifts up this cloth and empties the trinkets from the sack on to the table4 ,then1 replacing the cloth1 he carries the table and its contents to the middle of the stage4 ,next he simply whisks away the black cloth when the performer gives the signal1 and the table1 with its small heap of jewelry1 stands revealed4 ,as previously stated1 this illusion can easily be improved upon4 ,for instance1 the 8black0 assistant can place a live rabbit in one of the barrels1 giving the audience the impression that the jewelry has undergone a somewhat extraordinary1 though unprofitable1 transformation4 ,the performer should attempt to vary the nature of his entertainment as much as possible1 and the following illusion could very well occupy the next place upon the programme4 ,in obedience to the performer's command1 a large white box or wicker-basket floats on to the stage4 ,this1 as the reader will have been able to gather from the explanation of the previous illusion1 is simply carried on by the 8black0 assistant4 ,after having shown that the box or basket--as the case may be--is perfectly empty1 the illusionist raises it from the stage by placing four blocks1 one under each corner4 ,this is to prove the impossibility of a 8false bottom0 or trap-door being used4 ,a man now walks on to the stage1 with a white sheet wrapped round him1 and looking like a ,dervish or bernoused ,arab4 ,stepping into the basket1 he coils himself up until he is concealed at the bottom4 ,there is a pause of a few seconds1 after which a low groan issues from the interior of the basket4 ,a moment later the sheet is seen to shoot up into the air1 and collapse in a heap upon the stage4 ,both sheet and basket are examined2 but their human occupant has disappeared--has vanished1 as it were1 into thin air6 ,the illusionist next throws the sheet back into the basket4 ,no sooner has he done this than it is seen mysteriously to raise itself on end4 ,then for a second time it collapses4 ,a moment later1 however1 a second disturbance is seen to be in progress inside the basket1 and this time the white-robed man rises from it1 and steps out upon the stage4 ,the secret of this illusion lies in the fact that the 8black0 assistant and white-robed man are one and the same person4 ,directly the assistant has carried the wicker basket in1 and whilst the illusionist is showing the audience that it is perfectly empty1 he slips 8behind the scenes10 and1 taking off his black mask and gloves1 hastily arrays himself in the sheet4 ,in this guise he again makes his appearance1 and steps into the basket4 ,no sooner has he snuggled down at the bottom1 however1 than he quickly throws off the sheet and replaces the gloves and mask4 ,giving vent to a hollow groan1 he flings the sheet into the air4 ,this for a moment diverts the attention of the spectators1 and gives the assistant time to step from the basket1 behind which he remains in readiness to continue with the second part of the illusion4 ,in his black clothes he will1 of course1 be quite unseen4 ,when the performer puts the sheet back into the basket1 the assistant merely stoops and slowly lifts it up1 until he can step back into the basket under cover of it4 ,as he allows the sheet to collapse for the second time1 he sinks down with it out of sight4 ,he then again removes his black mask and gloves1 and envelops his body in the sheet4 ,this done1 the hard-worked 8black0 assistant in his ,dervish disguise has simply to step from his place of concealment into full view of the audience1 and the illusion is complete4 ,,the ,,vanishing ,,man ,another good effect1 which would act as an excellent climax to the entertainment1 can be brought about as follows3 ,the performer makes his appearance carrying a large white shawl4 ,this he spreads upon the ground4 ,taking the shawl by its two top corners1 he holds it before him so that he is completely hidden4 ,next he commences slowly to wave the shawl to and fro1 to advance to the front1 and then to retreat to the back of the stage4 ,as he is advancing for the second time1 however1 the shawl is suddenly dropped1 and--hey1 presto6--there is nothing behind it2 the illusionist has gone6 ,but at the very moment the shawl collapses1 a loud shout is heard1 and the illusionist is seen standing to the rear of the audience6 ,in this illusion1 as in the others1 the 8black0 assistant plays an important part4 ,his task is not nearly so difficult1 however1 as those he has already been called upon to undertake4 ,in fact1 the whole illusion1 although it can be made one of the most effective on the programme1 is the easiest to accomplish4 ,directly the illusionist picks up the shawl and holds it before him1 the 8black0 assistant steps up and takes it4 ,still under cover of the shawl1 the two slowly retreat to the back of the stage until they come to the opening in the partition-curtain 7,d1 ,fig4 #b74 ,it is then an easy matter for the illusionist to slip through the opening and get clear away4 ,the assistant continues to wave the shawl slowly backwards and forwards1 giving the audience the impression that the original performer is still behind it4 ,in the meantime the illusionist has made his way out of the room by a door in the vicinity of the stage4 ,thence he hurries to a door leading to that portion of the room containing the audience4 ,pushing this slightly open so that he may obtain a view of the stage1 he waits until he sees the shawl drop1 when he unexpectedly and dramatically makes his presence known4 ,the assistant being arrayed in black apparel will1 of course1 remain invisible4 ,the only drawback to this illusion is1 that it necessitates there being two doors to the room in which the 8black stage0 is erected4 ,then again1 although a room may possess the requisite doors1 one of them may be so placed that it is impossible for the performer to reach it without being first seen by the audience4 ,in such a case1 however1 the difficulty may be overcome by an ordinary screen placed from the door to the back entrance of the stage4 ,as already observed1 these illusions can be easily added to and improved upon4 ,in fact the 8black stage0 and its 8black0 assistant offer tremendous scope for a really first-class entertainment1 teeming with bewildering and mystifying illusions4 ,if the stage is large enough1 two assistants may be employed1 and still more complex effects attempted4 ,but having described several illusions of an entirely different nature1 and having explained the principle upon which all such illusions are worked1 it must be left to the reader to invent other 8black stage0 mysteries with which to entertain and bewilder his friends4 ,,chapter ,,xxiii ,,concerning ,,ghosts ,,mirror ,,frauds ,,if the ,honorable ,society of ,stage ,ghosts were to choose a motto1 they would find few more suitable than the old adage1 that 8,people who live in glass houses should not throw stones40 ,as the following remarks will serve to show1 their very existence depends upon a sheet of glass1 and if this be cracked or broken1 farewell to the apparition and all its attendant mystery4 ,if you look out of the window of a lighted room upon a dark night1 you will notice that the pane1 instead of being transparent1 acts as a mirror and reflects the room behind you4 ,it is on this principle1 applied to a stage1 that the greater number of ghost effects are produced4 ,owing to the fact that apparitions are usually seen at night1 a good excuse is found for having the stage darkened1 whilst the gloom serves to conceal several things highly undesirable the audience should observe4 ,the ghost effect1 as seen by the spectators1 is somewhat of the following description4 ,any person from the audience is requested to come upon the stage and seat himself in a chair already provided4 ,he has scarcely taken his seat when a white figure approaches him1 passes in front1 in doing so showing that it is transparent4 ,kneeling by his side1 it lays a hand--a ghostly white hand--upon his arm1 and appears to plead with him in a most touching manner4 ,but the gentleman from the audience is implacable2 he takes no notice whatever of his ghostly supplicant1 appearing utterly unconscious of its presence4 ,suddenly the object of the ghost's entreaties becomes clear4 ,fumbling amongst its white robes it produces a ghostly cigar1 again begs our friend with most urgent entreaties for a match1 and finally1 disgusted at his callous indifference1 shakes a sepulchral fist at him1 throws aside the cumbersome white shrouds1 and appears to the spectators as a very well-dressed young man in immaculate attire4 ,he is still a ghost1 however1 and calmly walks right through the gentleman from the audience1 lights his ghostly cigar with an equally ghostly match1 pats his friend condescendingly upon the head1 and vanishes4 ,,unseeing ,,and ,,disbelieving 8,ghost8 ,what ghost8 ,i saw no ghost1 but ,i got very tired sitting up there all that time without anything happening40 ,so says the gentleman from the audience when he returns to his seat1 and it is not until he has seen it all happen to some one else that he will believe anything really did occur4 ,illustration3 ,,fig4 #a4--;,arrangement of stage for ghost-producing4 ,he is probably provoked when he finds that the next apparition takes the form of a fascinating young lady who vainly endeavors to make the young man who has taken his place kiss her4 ,indeed1 such indifference is astounding1 and all her pretty wiles and enticements are as wasted upon him as though he did not see her4 ,as a matter of fact he does not know what pleasant temptations surround him4 ,in ,fig4 #a the stage is shown in section1 and the phenomenon is explained4 ,c1 ,g is the stage1 upon which is a chair1 ,h1 occupied by the gentleman from the audience1 ,i4 ,a sheet of plate glass1 ,a1 ,b1 rises from the floor of the stage to the flies1 and extends from one wing to the other4 ,this sheet of glass is tilted forward at an angle to be determined by circumstances4 ,between the footlights1 ,d1 and the end of the stage1 ,c1 is a space or well1 to be occupied by the original of the ghost1 ,k4 ,when the curtain is raised1 the glass1 ,a1 ,b1 is quite invisible to the spectators owing to its transparency1 and the extinguishing of the footlights at ,d renders the whole of the stage more or less dark4 ,the space1 ,d1 ,g1 is also invisible to the spectators1 to whom the stage appears to present nothing more exceptional than an ordinary chair4 ,mr4 ,i1 as he may be called1 is brought up from the auditorium1 round by the wings and taken to his chair1 whence1 looking into the theater before him1 he sees nothing of the plate of glass intervening4 ,illustration3 ,,fig4 #b4--,the coffin trick4 ,being already dressed in the conventional garb of a ghost1 the actor1 ,k1 places himself in the space between ,d and ,c1 whereupon strong lights on the walls1 ,d1 ,e1 and ,c1 ,f1 are switched on1 throwing their glare upon the actor4 ,owing to the principle of reflection mentioned above1 the glass1 ,a1 ,b1 having a fairly dark background1 becomes a mirror upon which is cast the reflection of the actor ,k4 ,of course1 ,mr4 ,i in his chair is visible the whole time1 but the spectators see in addition to him the reflection of ,k1 which naturally appears transparent1 and moves about the stage exactly as ,k moves in the space ,d1 ,c4 ,the position of the chair1 ,h1 is already known to ,k1 who is accordingly able to kneel in his space in such a position that his reflection appears kneeling to ,i1 to go through the rest of the performance with perfect ease1 and to leave our friend ,i perfectly ignorant of what has occurred4 ,returning for a moment to the example of a pane of glass in a lighted room1 it must be remembered that the spectators are in the position of the persons within the room and see a reflection of what is their own side of the glass1 whilst ,i is like a person outdoors who looks into the room unhindered4 ,to him the stage and the audience remain the same throughout the whole performance4 ,a ,,paris ,,illusion ,an interesting variation of this scene is produced in ,paris at an old caf1 known as the 8,cabaret du ,nant10 in the ,montmartre quarter4 ,the whole interior of this restaurant is fitted up to appear as funereal as possible4 ,guests are served with refreshments upon coffins by waiters dressed as mourners1 whilst the walls are covered with notices and advertisements of a similarly doleful character4 ,upon payment of a small fee the guests are taken into a cellar1 completely dark except for a small glimmer at the farther end4 ,having seated themselves they observe this light slowly increase until it is sufficient to disclose an open coffin standing upright4 ,some person from the audience is then requested to accompany one of the attendants upon the stage1 where he is asked to stand upright in the coffin4 ,his friends and the remainder of the spectators are then informed in sepulchral tones that they are about to witness a change which it will some day be the lot of every one to undergo1 being at the same time reassured that the subject of the experiment will suffer no harm from what is taking place4 ,a white cloth1 stretching from the chin to the heels1 is then tucked round the figure in the coffin1 and after a few moments the living face gradually fades away and a skull is seen in its place1 whilst a skeleton now fills the coffin 7,fig4 #b74 ,this in its turn fades away1 giving place once more to the original living occupant1 who soon descends from the stage and expresses himself much surprised at what his friends describe1 as he himself has seen nothing of the ghastly change4 ,as in the former experiment1 a large sheet of plate-glass is interposed between the audience and the rear of the stage where stands the coffin4 ,this plate of glass is placed diagonally1 as can be seen in the plan1 ,fig4 #c4 ,the coffin1 ,c1 is lighted by several electric lamps when the man takes his place in full view of the audience4 ,at ,d is another coffin in the wings1 invisible to the man at ,c1 as also to the spectators4 ,when the white cloth has been wrapped around the living person1 the lights are slowly switched off at ,c and on at ,d1 with the result that the skeleton in the latter coffin is reflected in the glass1 ,a1 ,b1 in such a manner that it appears to be actually within the coffin1 ,c4 ,to bring the man back to life the operation is reversed4 ,illustration3 ,,fig4 #c4--,plan explaining coffin trick4 ,the object of wrapping the white cloth about the living person is simply to hide any difference in size between him and the skeleton in ,d4 ,both coffins have1 of course1 been properly arranged to suit the reflections before the commencement of the experiment4 ,,the ,,sea ,,nymph ,the ,sea ,nymph1 shown in ,fig4 #d1 is really a beautiful illusion4 ,the scenery represents a rolling sea beneath an azure sky1 flecked here and there with skimming clouds4 ,suddenly from out the waves a graceful form is seen to appear1 and1 rising steadily1 gambol in the billows4 ,circling in the air1 she plunges down into the waves1 only to reappear once more1 and repeat her charming sport4 ,the sheet of glass is arranged for this performance as in the case of the ghost1 ,fig4 #a4 ,the scenery1 ,a1 ,b1 ,fig4 #e1 is painted as described1 to represent the sea1 and at ,l and ,m are placed additional waves1 close to the footlights4 ,the glass1 ,h1 ,k1 descends diagonally4 ,d1 ,e is a large circular disc revolving upon an axle1 ,f1 which is connected by a rope or wire to a barrel and handle1 ,g4 ,at ,c and ,m strong lights are thrown upon this disc4 ,illustration3 ,,fig4 #d4--,the sea nymph4 ,the young lady who performs the part of the nymph is suitably attired1 and takes her place1 lying upon the disc1 ,d1 ,e4 ,at the proper time the lights are thrown upon the disc1 with the result that the spectators see her reflection in the glass1 ,h1 ,k1 as though she were really standing upright amongst the scenery on ,a1 ,b4 ,by turning the handle at ,g1 the disc is made to revolve1 carrying with it the recumbent nymph1 who now appears to be turning elegant somersaults amongst the waves4 ,illustration3 ,,fig4 #e4--,plan explaining sea-nymph illusion4 ,the only difficulty about presenting any of these effects at home is the inconvenience of obtaining and handling so large a sheet of plate glass as is necessary4 ,a good ghost effect can be easily produced1 however1 in a room with a large ,french window4 ,the window must be fastened open at an angle that will have to be ascertained by experiment4 ,the room should then be thrown into complete darkness4 ,the ghost takes his place outside the window and against the wall1 ,d1 ,f 7,fig4 #f71 with two lamps1 ,b1 so arranged as to cast their light upon him4 ,these lamps should be shaded in such a way that they cast no glare except upon the figure of the ghost4 ,illustration3 ,,fig4 #f4--,plan of room for ghost illusions4 ,what happens is very plain4 ,the open window1 ,g1 ,c1 reflects the shrouded figure of the ghost at ,a1 making it appear to stand in the doorway1 pointing ominously at some startled person sitting in the dark room4 ,it may be added that it is but fair to inform the spectators of what is about to take place1 as many people are alarmed at apparitions1 and have nerves too weak to stand the sudden appearance of a ghost4 ,,chapter ,,xxiv ,,some ,,stage ,,illusions ,,for ,,home ,,presentation ,,although from earliest times wizards and conjurers have attempted to create illusions to impose upon the more credulous of their dupes1 it was not until the great ,robert ,houdin devoted his attention to the matter that any real progress was made in the art4 ,yet such was the genius of ,houdin that his inventions have hardly been superseded in the many years which have elapsed since his death1 whilst in the greater number of cases his original plans have barely been improved upon4 ,illustration3 ,,fig4 #a4--,the principle of reflection4 ,having dealt with the subject of stage apparitions in the previous chapter1 it is the intention here to describe and explain the best illusions in so simple a manner that1 with the minimum of trouble1 any amateur can construct the apparatus necessary for their production4 ,the successful working of the performance depends entirely upon the skill of the exhibitors4 ,a great number of stage illusions are based upon the principle that a person looking into a mirror from any angle sees the reflection of objects at a similar angle from the opposite direction4 ,this is borne out by ,fig4 #a4 ,supposing ,a1 ,b to be the mirror1 with the spectator standing at ,d1 he will see the reflection of an object at ,e1 the angle ,d1 ,f1 ,b being equal to the angle ,e1 ,f1 ,a4 ,a simple adaptation of this principle is seen in ,,the ,,magic ,,cupboard ,this is a large cupboard1 of sufficient height to hold a man comfortably1 and about #d feet wide by #b feet deep 7,fig4 #b74 ,the doors should be double1 and meet at the center post ,h4 ,the cupboard can be lined with some simple paper of an unobtrusive pattern1 and the doors should close easily and securely4 ,now to describe the performance as it appears to the audience4 ,illustration3 ,,fig4 #b4--,the magic cupboard4 ,illustration3 ,,fig4 #c4--,plan of magic cupboard4 ,the cupboard is opened1 and anybody allowed to mount the stage and see for himself that there is no false bottom or trap in the floor4 ,when he is perfectly satisfied and has returned to his seat1 the magician introduces his assistant4 ,at a nod from him she enters the cupboard1 which is then closed4 ,the wizard makes a few mystic passes with his wand1 utters the words 8,imshi6 ,imshi60 meaning in ,arabic1 8,depart6 ,depart60 ,the cupboard is then opened and--found to be empty6 ,once more the doors are closed4 ,the magician reverses his passes1 claps his hands1 looks upward1 and again opens the doors4 ,the pretty young lady stands inside1 smiling radiantly6 ,the mystery is understandable by a glance at ,fig4 #c4 ,at ,e and ,f are hinged two mirrors1 identical in size with the walls of the cupboard4 ,when opened inwards these mirrors meet at the post1 ,h1 which serves to conceal the line of their meeting4 ,now the whole deception lies in the walls of the cupboard4 ,when inspected by the audience the two mirrors were flush against their respective sides1 and1 having their backs covered with the same paper used to line the whole interior of the cupboard1 they were mistaken for the real walls against which they were pressed4 ,but when the mirrors are opened inwards the spectator can see only the reflection of the actual walls cast upon the mirrors in such a way that he imagines he sees the back of the cupboard4 ,of course this is really hidden from him by the opened mirrors1 but they reflect the paper-lined walls so accurately that a discovery of the deception is impossible4 ,when the lady is introduced into the cupboard the mirrors stand flat against the sides of the box1 which is really empty1 but as soon as the magician closes the outer doors upon his assistant1 she pulls out the sides1 shuts herself into the triangle ,e1 ,h1 ,f1 and awaits the opening of the cupboard4 ,when this takes place the mirrors are1 of course1 in the position indicated by ,fig4 #c4 ,the spectators1 seeing in them the reflection of the walls1 think they see the back ,e1 ,f1 and thereby conclude that the box is empty4 ,this process is reversed when the lady makes her reappearance4 ,illustration3 ,,fig4 #d4--,the ,mandarin's head4 ,it need scarcely be said that the object of the wizard's passes and incantations is to give the assistant time to open and close the mirrors1 as the case may be4 ,care must be taken when making such a cupboard that the mirrors shall be flush with the sides at every point1 and that when drawn out they meet at an angle of #de from the walls4 ,this is imperative in order that they shall reflect the actual walls of the cupboard exactly4 ,the illusion known as ,,the ,,mandarin',s ,,head is arranged upon a principle somewhat similar to the foregoing4 ,to the spectators the effect is this4 ,a box1 standing upon a simple card-table1 is opened and seen to contain a human skull4 ,remarking that he will call up the original owner of the skull1 the wizard closes the box1 mutters a few incantations1 reopens it1 and displays a living human head as shown in ,fig4 #d4 ,this head laughs1 speaks1 and nods1 and in numberless other ways shows itself to be no mere imitation4 ,the box having been closed again1 the incantations are reversed1 and on the casket being opened once more the skull is found inside as at first4 ,the secret of this remarkable illusion requires but little explanation4 ,in the first place1 the table has a hole in its top sufficiently large to allow of the passage of a human head4 ,the hole is closed by a trap from below1 after the manner shown in ,fig4 #e1 which may be described in detail thus3 ,a1 ,b1 ,c1 ,d is the table1 and ,e the lid filling the circular hole4 ,this lid is hinged by ,g to the table1 whilst a bolt1 ,f1 running through the loops ,i1 ,i in the table and ,h1 ,h in the lid1 secures the latter in its place4 ,upon drawing this bolt the lid opens downwards4 ,as a matter of fact1 the simple card-table is not so innocent as it looks4 ,indeed1 the spectators do not really see under the table at all4 ,the surrounding screen is reflected in a couple of mirrors shown in ,fig4 #f4 ,let ,a1 ,b1 ,c1 ,d be the four legs of the table1 and ,a1 ,e1 ,d1 ,e two mirrors placed in the form of a ,v between them1 and reaching from the table top to the floor4 ,the result of this arrangement is that the two front legs1 ,b1 ,c1 are reflected in the mirrors in such a way as to appear to the spectators to be the back legs1 ,a1 ,d1 whilst1 as in the former experiment1 the reflections of the walls ,g1 ,h1 ,f1 ,k1 appear to be the actual back ,f1 ,g1 of the screen4 ,illustration3 ,,fig4 #e4--;,base of table4 ,illustration3 ,,fig4 #f4--,plan of screen and table4 ,when the magician first opens the box the lid of the table is closed1 and a skull1 imitation or otherwise1 rests upon it4 ,but no sooner does he close the box than the lid is let down by a confederate1 concealed in the space ,a1 ,e1 ,d1 and the skull removed by him4 ,this confederate1 who has already been properly prepared1 protrudes his face through the hole1 and1 when the box is opened1 acts his part to life4 ,when the box is closed he removes his head from the hole in the table1 replaces the skull on the lid1 and the trick is done6 ,the arrangement of mirrors has all along concealed his body1 whilst1 as already explained1 the audience has been deceived into thinking they can see beneath the table4 ,the wizard must take great care to make all his approaches to the table directly from the front1 as1 should the reflection of his legs appear in the mirrors1 the 8game would be all up40 ,an illusion known as 8,,the ,,head ,,of ,,mary ,,queen ,,of ,,scots0 is worked almost in the same manner4 ,the effect of the trick is shown in ,fig4 #g1 where the head of the unfortunate ,queen is seen resting upon the hafts of two axes laid over the arms of a chair4 ,illustration3 ,,fig4 #g4--,the ,queen ,mary illusion4 ,illustration3 ,,fig4 #h4--,the ,queen ,mary illusion4 ,it need scarcely be said that the whole trick lies in the construction of the chair1 illustrated by ,figs4 #g and #h4 ,the peculiarity about the chair is that the back only reaches down to the spot where the arms join it1 thus leaving a space behind the seat4 ,this space is concealed from view by a slanting mirror1 the bottom of which rests on the seat1 whilst the top comes between the arms of the chair4 ,this mirror must incline at an angle of #de from the seat4 ,the haft of one of the axes laid across the chair arms serves to conceal the upper edge of the mirror1 so that when a head is thrust upwards1 it has the appearance of resting upon the ax handle4 ,in the curtain against which the chair is placed there must be a hole exactly corresponding to the empty space in the back of the chair4 ,now1 through this hole a girl1 whose face and hair have already been made up to look like that of the murdered ,queen of ,scots1 thrusts her body just far enough to allow the head to appear above the edge of the mirror4 ,owing to the angle at which it is placed the mirror reflects the seat of the chair in such a way that it appears to be the missing portion of the back4 ,the spectators see nothing of the girl's body2 all that is presented to their horrified gaze is the trunkless head of the beautiful but unfortunate ,queen4 ,illustration3 ,,fig4 #i4--,when three are a crowd4 ,,when ,,three ,,are ,a ,,crowd ,most people know the old saying1 8,two are company1 three are a crowd10 and a glance at the illustration shows this may really be true4 ,if three persons stand in a prism-shaped arrangement of mirrors1 as indicated in plan in ,fig4 #i1 an innumerable series of reflections would appear and the three would in reality become a crowd4 ,,the ,,floating ,,lady ,a most interesting illusion is that of ,the ,floating ,lady1 which1 perhaps1 should first be described from the point of view of the audience4 ,illustration3 ,,fig4 #aj4--,the floating lady4 ,the magician appears upon the stage leading by the hand a fairy-like lady4 ,introducing her to the spectators as ,mademoiselle ,volatile1 he describes her susceptibility to his powers of mesmerism1 in proof of which he offers to keep her suspended in the air for any length of time4 ,mlle4 ,volatile accordingly lies upon a board supported by two trestles or chairs of the same height4 ,next the wizard walks round her1 carefully disposing of her drapery and tucking it neatly about her feet4 ,he makes a few mesmeric passes1 examines her pulse carefully1 and removes the trestles4 ,the lady is seen suspended in the air as in ,fig4 #aj4 ,after a short time the magician reverses his passes1 and smilingly helps ,mademoiselle to the ground4 ,all this is very mysterious until ,fig4 #aa 8gives the show away40 ,illustration3 ,,fig4 #aa4--,key to floating lady illusion4 ,a1 ,b represents the back of the scenery through which a hole1 ,e1 is bored4 ,this hole is concealed by a little drapery on the face of the curtain4 ,behind the scenes is a simple contrivance1 the principle of which can be seen from the cut4 ,it consists of a strong upright ,f1 which branches into two arms1 each of which terminates in a journal1 ,h1 ,h4 ,through these journals runs an iron bar1 ,d1 which1 terminating at one end in the handle1 ,g1 has the other end protruding through the hole in the scenery4 ,in the board1 ,c1 upon which the lady lies1 is a socket to receive the end of the handle4 ,now1 whilst the lady is putting herself in position on the board1 the magician can walk right round her1 for the bar has not yet been protruded through the scenery4 ,but1 at a signal from him1 an assistant behind the curtain seizes the handle1 ,g1 thrusts the bar through the hole as far as it will go1 and holds the handle firmly4 ,whilst adjusting the lady's robe the magician fits his end of the bar into the socket in the board1 and1 still arranging the folds of her drapery1 carefully conceals any sign of what he has done4 ,having ascertained that everything is safe1 he removes the trestles1 and the board1 with its living burden1 is maintained in the air by the iron bar4 ,after replacing the supports the bolt is withdrawn by the assistant behind the scenes1 and no one suspects the existence of the very material support which has kept the lady in the air4 ,,houdin',s ,,mesmerism ,robert ,houdin used to exhibit to large audiences with startling success the following example of his mesmeric powers4 ,for the sake of clearness1 let it be supposed that the magician and ,mademoiselle ,volatile are performing the trick4 ,after the usual remarks as to his powers of mesmerism1 and how they set at nought the laws of gravitation1 the magician introduces the fair lady1 who wears a short skirt for the occasion4 ,taking two sticks1 each about five feet long1 the wizard requests ,mademoiselle to step upon a stool4 ,placing one of the sticks beneath each arm-pit1 he then begins the incantation4 ,when the mystic words have been pronounced and the correct passes made1 the magician removes the stool1 and ,mlle4 ,volatile appears suspended between the two sticks4 ,one or two more passes are made and then the wizard removes the stick from beneath her left arm1 ,fig4 #ab1 slowly raising her body to a horizontal position1 as in ,fig4 #ac1 and passing a hoop around her to show there is no hidden support from behind4 ,having left the lady thus suspended for some time1 he lowers her to the perpendicular once more1 replacing the stick under her left arm and putting the stool beneath her feet4 ,she is then awakened from the trance4 ,the stick beneath ,mademoiselle's right arm is of special construction1 having a core of iron extending its entire length4 ,the lower end fits firmly into a socket in the floor1 whilst the upper end itself contains a socket the use of which is explained later4 ,illustration3 ,,fig4 #ab4--;,houdin's mesmerism4 ,illustration3 ,,fig4 #ac4--;,houdin's mesmerism4 ,beneath the lady's clothing1 in fact next her skin1 is a well-padded iron cage1 shown in ,fig4 #ad4 ,this cage consists of an iron band1 ,h1 ,g1 ,f1 which passes round the body beneath the arm-pits of the wearer4 ,it is straight behind and somewhat ,v-shaped in front4 ,a strong leather strap1 ,e1 is fastened to the band at ,i1 passing between the legs and up the back1 where it is fastened to the band again at ,g4 ,another piece of iron stretches from ,h by the side of the body to a point above the right knee1 where it terminates in a loop of sufficient size to encircle the leg4 ,every part of this cage must be well covered to avoid any discomfort to the wearer4 ,illustration3 ,,fig4 #ad4--;,cage for suspended-lady illusion4 ,illustration3 ,,fig4 #ae4--,the hinge4 ,at ,h 7,fig4 #ae7 is a small bar hinging at ,b to a piece of iron1 ,a1 which1 in its turn1 fits into the socket already mentioned in the prepared stick4 ,this hinge1 ,b1 contains several notches1 ,x1 ,x1 ,x1 the use of which is now explained4 ,the bolt ,g1 is fastened to the leg-piece ,d1 and catches the notches ,x1 ,x1 ,x at the other end4 ,it will be obvious that when ,mlle4 is in her cage with the bolt ,c in the lowest notch ,x1 she will be maintained perfectly securely in a perpendicular position4 ,when the wizard lifts her horizontally1 he releases the bolt and moves the cage with its occupant upon the hinge ,b4 ,having placed her in position1 he shoots the bolt into the top notch1 where it holds the cage firmly4 ,the whole cage1 being beneath her costume1 is quite invisible to the audience1 and as soon as the experiment is completed ,mlle4 runs off the stage and divests herself of this somewhat uncomfortable arrangement4 ,,the ,,indian ,,basket ,this familiar deception is yet sufficiently thrilling to prove fascinating to the most blas of spectators4 ,with a little practice it can easily be worked at home1 and the following hints will explain the performance4 ,the magician1 dressed as ,bluebeard1 leads ,fatima on the stage1 and1 during the course of a short conversation1 discovers that she has been prying into matters which had better have been left alone4 ,in a fit of passion he draws his sword and rushes upon her1 whereupon ,fatima falls to her knees1 crying for mercy4 ,bluebeard is obdurate1 but after many tears from his wife he consents that she shall be blindfolded1 to prevent her being a witness of her own fate4 ,he binds a black scarf across her eyes1 but has barely finished1 when she breaks away1 and rushes from the stage4 ,bluebeard pursues hotly1 and in another moment returns dragging the blindfolded girl after him4 ,he puts her into a wicker basket1 fastens the lid1 and with a savage grin1 thrusts his sword through and through the basket1 his victim shrieking at every stroke4 ,having worked the spectators to a pitch of agonized excitement1 the murderer throws down his sword1 unfastens the lid of the basket1 and stoops to gaze on his sanguinary work4 ,the basket is empty6 ,staggering back with a look of horror1 he suddenly perceives the 8slaughtered0 ,fatima herself appearing from amongst the spectators1 pointing at him accusingly6 ,the deception in the trick is twofold4 ,firstly1 the basket is of special construction1 and secondly1 there are two ,fatimas4 ,with regard to the basket the solution is shown in ,figs4 #af and #ag4 ,the first illustrates the appearance of the basket when ,fatima is thrust inside4 ,illustration3 ,fig4 #af4--,the ,indian basket trick4 ,illustration3 ,fig4 #ag4--,the ,indian basket trick explained4 ,the lid1 ,a1 ,b1 is plain1 and hinged to the top at ,c1 ,d4 ,the back1 ,e1 ,g1 ,f1 ,j1 is similarly hinged at ,g1 ,j4 ,the top1 ,e1 ,c1 ,f1 ,d1 is double1 having a duplicate1 ,l1 ,k1 hinged at ,e1 ,f4 ,having placed ,fatima in the basket1 ,bluebeard thrusts his sword through and through the wicker-work1 carefully avoiding the spot where1 as he knows1 the girl is lying4 ,at each stroke she screams lustily1 as though the blade were piercing her body4 ,then1 deftly pushing down the back of the basket1 ,e1 ,g1 ,f1 ,j 7,fig4 #ag71 she rolls herself out upon it1 drawing after her the false top1 ,e1 ,k1 by doing which the original back is entirely replaced4 ,she is now lying outside the basket1 which is1 of course1 empty when opened by ,bluebeard4 ,now comes the question of the two ,fatimas4 ,the girl who is put into the basket is not the one who was blindfolded by ,bluebeard4 ,when ,fatima rushed away pursued by her murderer her place was taken by another girl waiting behind the scenes similarly dressed and of the same height and figure4 ,the bandage upon her eyes hid from the spectators any difference in features4 ,the substitute having been apparently slain by ,bluebeard1 the original ,fatima slipped in at the back of the auditorium1 slowly walked down amongst the spectators 7who recognized her face7 and confronted the assassin4 ,in the confusion that naturally followed1 the substitute managed to leave her place behind the basket and vanish from the stage4 ,,the ,,disappearing ,,princess ,this is an illusion originally produced at one of the ,french ballets4 ,a train of slaves appears1 bearing a palanquin1 in which reclines a dazzlingly beautiful ,princess4 ,the slaves march slowly round the stage1 allowing the spectators ample opportunity to inspect the palanquin from all sides4 ,suddenly a band of brigands rushes upon the scene1 with the obvious intention of seizing the lovely ,princess4 ,flourishing their glittering swords and brandishing all manner of fearsome weapons1 they surround the palanquin and its terrified bearers4 ,the robber chieftain advances with uncouth flattery1 assuring the lady that not a hair of her head shall be touched4 ,but the only answer she makes is to lower in his face the curtain of the litter4 ,furious at such an insult1 the robber stretches out his hand1 and with a single touch causes the curtains to fly open4 ,the ,princess has disappeared6 ,gazing at one another in astonishment1 the villains search for the vanished lady1 but their endeavors proving fruitless1 they eventually decide to butcher the slaves and carry off the palanquin as booty4 ,at this moment a handsome young ,prince springs into view2 the robbers1 startled at his sudden appearance1 take to flight1 and abandon all thought of their prey4 ,in his turn the ,prince approaches the palanquin1 sees it empty1 and questions the slaves1 who can only say that their mistress was there1 but has disappeared4 ,pulling the curtains aside to see if they offer a solution to the mystery1 he releases them almost instantly1 and the lovely ,princess is found reclining upon the litter1 smiling so charmingly that the ,prince then and there loses his heart4 ,illustration3 ,,fig4 #ah4--,the disappearing ,princess4 ,the explanation of all this is very simple4 ,in ,fig4 #ah the lady is sitting upon what appears to be the bottom of the palanquin4 ,in reality it is a false floor placed upon the real one4 ,at each corner are attached cords that run up the four columns and are counterpoised by heavy weights4 ,when drawing the curtains1 the ,princess releases a catch1 whereupon the counterpoise and cords immediately draw her1 together with the false floor upon which she rests1 to the roof of the palanquin1 which has been so painted as to make it appear shallower than it really is4 ,by pressing another spring she is enabled to lower herself once more1 in time to appear before the fortunate and admiring ,prince4 ,,chapter ,,xxv ,,the ,,room ,,of ,,mystery ,,how ,,to ,,make ,a ,,haunted ,,house ,,one winter evening three boys--,jim ,thompson1 his cousin ,will ,white1 and a friend named ,handley--approached the door of ,bobbie ,cargill's house4 ,bobbie was a genius for inventions1 and they all felt a desire to see his home4 ,as they reached the door1 ,white1 who was a cynic in his own way1 raised his hand to the knocker and was about to give a thundering 8rat-tat10 when the door silently opened1 revealing an empty hall in which the light flickered dimly4 ,after a glance of surprise at one another the guests entered4 8,,close ,,the ,,door6 ,,wipe ,,your ,,boots1 ,,and ,,come ,,upstairs60 ,the visitors started violently as these words were uttered by a hollow voice1 coming from nowhere in particular1 and yet quite close to where they were standing4 ,after a moment ,handley said in a whisper1 8,i don't much like this4 ,it seems----0 8,,hang ,,up ,,your ,,hats1 ,,and ,,be ,,quick ,,about ,,it10 the ghostly voice interrupted sharply4 8,,are ,,you ,,going ,,to ,,stand ,,chattering ,,there ,,the ,,whole ,,night8 ,,hang ,,up ,,your ,,hats1 ,i ,,say60 ,this was not a pleasant beginning1 yet none of the guests cared to show the white feather4 8,come on60 said ,white4 8,let's see it through02 and setting an example he placed his hat upon the nearest peg4 ,crash6 ,amidst a clatter as of broken glass the hat and peg fell to the ground4 ,the three boys looked at one another in consternation6 ,but before they had time to remark on this misfortune1 a shriek of weird laughter rang in their ears4 8,,ha6 ,,ha6 ,,ha60 ,the invisible person seemed in paroxysms of mirth at their disaster4 8,i don't care for this a bit10 muttered ,handley2 8let's clear out40 ,they were all about to beat a hasty retreat when ,bobbie ,cargill appeared1 apparently much surprised at finding his visitors making an awkward group in the hall4 8,how did you fellows get in10 he said1 8and what have you been doing8 ,has there been an accident8 ,never mind1 come along upstairs and have a #8feed'2 perhaps you will feel better then60 ,nothing loth1 the three guests followed their host to his own room1 which usually went by the name of 8,the ,den40 ,the upper part of the house was totally dark1 and it was with a feeling of relief that they saw a glimmer of light beneath the door of 8,the ,den40 8,step inside and make yourselves at home10 said ,cargill4 8,i will just run and say that you have arrived10 and he disappeared into the darkness4 ,followed by the others1 ,white turned the handle and threw the door open1 glad to find a light once more4 ,but the pleasure was short-lived1 for the door had scarcely opened half-way when the light went out4 ,white1 however1 strode into the room1 and his friends were about to follow1 when there was a heavy stumble1 a crash1 and a smothered shout that was instantly drowned in the violent clatter and ringing of bells about their very ears4 8,what has happened80 gasped ,handley1 scarcely able to hear his own voice in the deafening clamor4 ,advancing into the darkness1 a violent report beneath his feet caused him to leap into the air with alarm1 whilst in the gloom ,white was trying to make himself heard above the pandemonium4 8,here1 ,cargill1 get a light for goodness' sake60 howled ,handley1 as their host appeared4 8,i don't know what on earth has happened2 it seemed like a pistol going off40 8,you fellows are making a fine noise between you10 shouted ,cargill4 8,get inside1 ,jim1 and turn on the light2 it's just to the left40 ,jim had no sooner stepped across the threshold and begun searching for the switch1 than ,,bang6 ,,bang6--the very floor seemed thundering beneath him1 whilst a rattle as of a thousand pots falling to the ground made the confusion worse4 ,leaping back hastily1 he collided with ,handley1 and the couple sat down with a ponderous thud4 8,that's right2 make yourselves comfortable60 laughed ,bobbie ,cargill4 ,as he spoke the light was turned on1 the jangling bells ceased1 and the three guests were discovered gazing ruefully at one another1 whilst their host1 calm and collected1 smiled down on them from the doorway4 ,it was some time before ,bobbie could pacify his guests4 ,indeed1 the situation might have become painfully awkward had they not happened to glance at the table1 which certainly looked inviting4 ,knives and forks glistened cheerfully on a spotless white cloth1 whilst dainty mats and sparkling cruets promised a really substantial 8feed40 ,a large center-piece full of flowers added to the appearance of the table1 and showed that ,bobbie ,cargill knew how to do things 8in style40 ,following their host's example1 the three chums took their seats at the table and glanced round the room4 ,it was a cozy 8,den10 and looked cheerful1 with a sparkling fire on the hearth4 ,a thick curtain was drawn across the window at ,cargill's back1 lending an air of comfort to the place4 ,before each guest was a napkin1 neatly mitered1 with a piece of bread reposing between the horns1 and scarcely noticing what he was doing1 ,white drew this piece of bread from its resting-place4 ,a sharp exclamation drew attention to him4 ,there he sat1 a mass of bread-crumbs before him1 and a look of surprise on his face6 8,have you had an accident80 grinned ,cargill4 8,never mind the crumbs1 they can soon be scooped up2 wait a minute until ,i fetch the tray40 ,he had scarcely risen when a roar of laughter burst from ,jim and ,handley4 ,by some strange means the entire mass of crumbs had been swept off the cloth and scattered all over the place4 8,you might have waited for me to clear them away10 grumbled ,bobbie1 and this was the beginning of a heated discussion1 which would probably have ended violently had not the host turned the conversation by asking ,jim if he would take a piece of tongue4 8,yes1 please10 answered ,jim4 ,sharpening his knife in a business-like manner1 ,cargill made ready to cut a slice4 ,but at this point a strange thing happened4 ,as soon as the knife and fork got near the tongue1 it leaped from the dish and clung tenderly to the knife4 ,for a moment or two it hung suspended1 and then flopped back into the dish4 8,let's have another try10 said ,cargill in a puzzled way4 ,up it jumped once more1 apparently too anxious to be carved to remain still on the plate4 ,a murmur of surprise escaped the guests as all eyes were fixed upon this strange behavior4 ,once more the carver thrust his knife near the tongue1 caught it neatly as it ascended1 and carried it away to a side table1 where he was obliged to bury his face in a handkerchief1 presumably overcome with grief4 ,having recovered somewhat1 the host resumed his seat1 remarking1 8,i think that tongue is best out of the way4 ,i am afraid ,i have nothing better to offer you than some potatoes4 ,you might help them round1 ,handley40 ,before his friend had time to reply1 the lid of the tureen arose slowly and deliberately--ascended and then remained stationary in the air4 ,only for a moment1 however4 ,suddenly rising yet higher it was followed by each individual potato1 as one by one they rose sedately to the ceiling1 leaving but one of their number in the tureen4 ,their eyes fairly bulging with surprise1 the boys looked at one another1 at their host1 and then at the tureen with its solitary occupant4 ,but this last potato had suddenly awakened to a sense of its loneliness1 and sprang into the air to join its companions4 ,next the whole party of vegetables slowly crossed the ceiling and disappeared behind the curtain1 to be seen no more4 ,jim wanted to jump up and see where they had gone1 but his host dissuaded him1 and1 anxious to change the subject1 asked what he would have to drink4 8,i don't quite know4 ,what is there80 ,a wine bottle that had been quietly standing in front of ,white lurched suddenly forward1 as though in answer to the question4 ,at the same moment the table began to heave1 the glasses to rattle1 and a little stool1 covered with books1 toppled over with a prodigious crash4 8,haven't you some other room we can go to80 stammered ,jim4 8,nonsense1 it is only some silly trick of ,cargill10 said ,white4 ,nevertheless all three guests wished themselves well out of it1 especially when the dim light suddenly grew dimmer1 and the shadows in the room increased4 ,in a few seconds the boys were barely able to see one another4 ,at this point a mournful moan rang through the room1 the curtains were seen to open1 and a white figure glided from between them and passed out through the door4 8,let's get out of here1 the place is haunted60 cried ,white1 rising from his chair4 8,,ha6 ,,ha6 ,,ha60 a ghostly laugh issued from the flowers in the center of the table1 and was echoed by the clock on the mantelpiece4 8,,ha6 ,,ha6 ,,ha60--but the guests could stand it no more1 and1 scrambling and struggling1 they rushed downstairs1 with ,white at their head4 ,panting and scared they did not stop until the hall was reached1 when they stood still1 staring at one another in dismay4 8,what is the matter80 a sweet voice greeted them4 ,the whole party turned to find ,cargill's sister standing at the dining-room door1 looking from one to the other in frank amazement4 ,none of them cared to reply4 ,it is no pleasant thing to tell a pretty girl that you have been afraid4 8,the ghost1 ,dolly10 gasped her brother after a moment1 and in a shaky voice he recounted their mysterious adventures4 8,so the silly old ghost would not let you have any tea6 ,you must all come in here and enjoy yourselves4 ,i believe there is plenty to eat10 and leading the way ,miss ,dolly ushered them into the dining-room1 where the table was laid with enough good things to cheer a king4 ,but when she had shown each of the four friends his seat there still remained a vacant place at the head of the table4 8,now1 gentlemen10 she said with a naughty smile1 8as you are all feeling much braver now1 ,i am sure you will not mind if the ,ghost sits down and has something to eat1 too40 ,the boys looked at one another and then at her1 but ,miss ,dolly1 taking no notice of their surprise1 quietly seated herself in the vacant chair1 passed a plate to ,white1 and said-- 8,now1 ,mr4 ,white1 please give the ,ghost something to eat40 99 99 99 99 99 ,after they had all had a good tea1 of course ,bobbie ,cargill and his sister1 the ,ghost1 had to tell the others how it was done4 ,this is the gist of what they said3-- ,illustration3 ,,fig4 #a4--;,apparatus for producing ghostly sounds4 ,the opening of the door was a very simple matter4 ,a loop was tied in one end of a long piece of strong cord or string1 which was carried across to the wall by means of staples1 to a concealed corner4 ,the loop was slipped over the door-catch1 so that when the other end was pulled this catch was drawn back1 whilst the continued pull on the string made the door open4 ,this loop was made of such a size1 that as soon as the door had opened to its full extent the string slipped automatically from the catch1 and could then be pulled away and out of sight4 ,illustration3 ,,fig4 #b4--,mysterious hat-stand4 ,in the angle formed by the wainscoting and the floor a piece of simple tubing was placed1 one end reaching a room on the ground floor1 whilst the other was carried up behind the hat-stand to the height of about five feet4 ,to this end a cardboard funnel was fixed1 as in ,fig4 #a1 which1 sticking out from the wall1 was concealed by a hat or scarf upon the rack4 ,a similar funnel was placed upon the other end1 so that the voice of any person speaking through the tube from the room was carried with undiminished force to the hall1 thus transmitting the ghostly messages and weird laughter to the guests4 ,in most hat-stands the pegs are screwed to the back1 and taking advantage of this1 ,bobbie ,cargill had unscrewed those pegs most likely to be used by his visitors1 putting 8fakes0 in their place4 ,to all appearances there was no difference between the 8fakes0 and the proper pegs1 but in reality the former were simply gummed against the rack1 just strong enough to bear their own weight1 but too weak to support a hat4 ,illustration3 ,,fig4 #c4--,prepared hat-stand peg4 ,by the contrivance of a piece of string the fall of the hat-peg was made to work a kind of booby trap1 explained by ,fig4 #b1 which shows the hat-stand in section4 ,the false peg1 ,a1 is lightly gummed to the stand1 ,b1 ,c1 against the hole ,d1 where the real peg is screwed4 ,a bent pin or nail is driven into this end of the peg1 as seen in ,fig4 #c1 the end bending downwards4 ,a thin piece of string1 ,f in ,fig4 #b1 is fastened round this pin with a loop1 passed through the hole ,d1 and supports at the other end a tin1 ,g1 filled with bits of broken glass1 marbles1 and such like4 ,naturally1 when ,white hung his hat on the peg the strain brought the peg away from the stand1 in its fall releasing the string and causing the tin to clatter to the floor4 ,so simply was the whole thing arranged1 however1 that ,bobbie ,cargill had fixed it up in less time than it has taken to describe4 ,the absence of lights in the house served a twofold purpose4 ,in the first place1 it made the mystery and eeriness more marked1 whilst at the same time it concealed several little matters which had to be hidden in order to insure success4 ,it will now be necessary to glance at the arrangement of the 8,den10 shown by ,fig4 #d4 ,the room was entered by the door ,a1 whilst in the opposite wall is the fireplace ,b4 ,the window ,c is hidden by the two heavy curtains at ,d and ,e4 ,in the center of the room stood the table ,f1 around which were placed the chairs ,g1 ,g1 ,g1 ,g4 ,between the curtains and the window stood the ghost1 who after all turned out to be none other than ,dolly4 ,over the center of the table hung the gas1 which1 being incandescent1 naturally had a burner with a by-pass1 and was easily manipulated by means of a piece of string running up the chandelier1 carried across the ceiling where it was painted white1 and down to ,miss ,dolly behind the curtains4 ,a weight should be fastened to the switch to make it fall when not pulled by the string1 as in ,fig4 #e4 ,illustration3 ,,fig4 #d4--,plan of the room of mystery4 ,when ,white opened the door the young lady lowered the gas by means of her string1 and as it was a by-pass the light did not actually go out1 although it went sufficiently low to plunge the room in darkness4 ,illustration3 ,,fig4 #e4--,the weighted by-pass4 ,illustration3 ,,fig4 #f4--;,an exploding cap4 ,it was an easy matter to cause a collision between the visitors4 ,a piece of cord stretched across the room1 at ,l1 ,l1 quickly did its work1 and was then pulled away behind the curtain4 ,the 8,den0 had not been fitted up so neatly for beauty alone1 and if they had looked1 the guests might have found a couple of strong electric bells concealed beneath the dainty hangings of a picture by the door4 ,dolly had but to push a button and these two bells were set ringing like an alarm clock1 and with a persistence calculated to arouse the ,seven ,sleepers4 ,handley's experience required even less preparation4 ,several good percussion caps were placed beneath the carpet and covered with a piece of tin as shown in ,fig4 #f4 ,in the center of this piece of tin1 a hole was pierced with a nail1 making ragged edges on the further side4 ,these ragged edges were placed over the powder in the cap1 with the result that so soon as ,handley trod upon the carpet over the plate the cap was exploded with a loud report4 ,meanwhile ,bobbie ,cargill1 arriving under cover of the darkness1 added to the uproar by banging a tin can with a heavy stick1 and performed this office so lustily that nothing else could be heard4 ,it is scarcely necessary to remark that sending ,jim into the room to turn on the switch was merely a feint to get him out of the way1 and to plunge him into the fracas4 ,a signal from ,bobbie was enough to make his sister turn on the light and release the bell pushes1 so that when silence was restored1 and the darkness dispelled1 there was nothing to show how all the commotion had occurred4 ,by adjusting a screw in the gas-burner ,bobbie had previously arranged matters so that even when the gas was turned full on the light was not very strong4 ,although sufficient to illumine the room1 it was feeble enough to hide several tell-tale features4 ,besides being an ornament to the table1 the large center-piece of flowers served to conceal the end of a piece of tubing which passed beneath ,bobbie's chair to the far side of the curtain4 ,amongst the frilled mats1 too1 there were one or two other contrivances to be explained in their turn4 ,it had been ,miss ,dolly's business to make the fake pieces of bread4 ,taking a piece of bread and breaking it up into very small crumbs1 she had then added just enough milk to enable her to mold the crumbs into the shape of a piece of bread again1 and had then let the concoction dry1 when it had become sufficiently brittle to suit her purpose4 ,concealed by the mat in the center was a small indiarubber tube1 one end pointed directly to the spot where ,white had dropped his mass of crumbs1 whilst the other ended in a bulb conveniently placed to ,bobbie's hand4 ,he had nothing to do1 therefore1 but to press the bulb suddenly1 and laugh as the wind thus caused sent the crumbs flying4 ,a ,,deceitful ,,member ,the tongue is proverbially a deceitful member1 and the one lying before ,bobbie ,cargill was no exception to the rule4 ,indeed1 except for its appearance there was really very little tongue about it4 ,it consisted of a round tin1 in which had been placed a small bar of highly magnetized iron4 ,by fixing a slice of real tongue to the top of the tin1 and disguising the sides in a similar manner1 ,bobbie had made such a good resemblance to the real thing1 that it would have been hard to discover the deception in the subdued light of the 8,den40 ,it is very easy to see what happened4 ,so soon as the steel knife approached the dish1 the magnet within the faked tongue made the latter leap up to meet the knife and cling to it4 ,of course1 when the fork was plunged through the thin outer coating of meat it struck the tin1 making it crack in a strange manner4 ,in ,fig4 #g is shown the method of fixing the magnet1 the whole faked tongue being shown in section4 ,a number of experiments had to be undertaken before the trick could be made to work satisfactorily1 but in the end ,bobbie was quite pleased with the result of his labors4 ,illustration3 ,,fig4 #g4--,the mysterious tongue4 ,the whole success of the potato trick depended upon ,dolly1 who worked the simple apparatus to perfection4 ,attached to the handle of the lid was a strong piece of wire1 which the half-light rendered invisible4 ,this passed through a loop in the ceiling and over to the curtain1 to enable that young lady to pull4 ,a second wire was attached to it that pulled the cover and the potatoes out of sight4 ,fig4 #h will show how this was arranged4 ,a ring ,c is put in the ceiling ,a ,b over the tureen4 ,from the lid ,e a wire ,d passes up through this ring and along the ceiling to the back of the curtain ,g4 ,upon the wire ,d a ring ,h is threaded1 whilst attached to this ring is another length of wire ,f1 that also passes behind the curtain4 ,by pulling the wire ,d the lid of the tureen is naturally raised to the ceiling at ,c4 ,when it has reached the top1 it is only necessary to pull the wire ,f1 and pay out the wire ,d1 to make the whole lid travel towards ,g4 ,each of the potatoes had been previously attached to the lid by a wire about ten inches long1 with the exception of the small one that remained in the dish1 which had a separate arrangement of thread1 similar to that of the lid1 all to itself4 ,the movement of the bottle upon the table was caused by the inflation of a little india-rubber bulb beneath the cloth1 and worked by the host as he sat at the table4 ,illustration3 ,,fig4 #h4--,the disappearing potatoes4 ,the excitement of his guests having been thus aroused it was a very simple matter for ,bobby ,cargill to move the table with his knees1 whilst by dexterously pulling a string ,dolly was able to overturn the little table laden with books 7,fig4 #d1 ,h74 ,to add to all this confusion ,dolly then began slowly to lower the light1 tap the wall by her side1 and utter dismal groans4 ,she then clothed herself in a white sheet1 opened the curtains1 and made her way out of the room with all haste4 ,little wonder that general consternation ensued6 ,it only remains to be mentioned that the speaking tube concealed amongst the flowers in the center-piece was sufficient to carry the laughter from one of the servants1 who1 acting under instructions1 stood without the room4 ,it proved the climax1 and peace was scarcely restored until they were all sitting below with the ,ghost herself1 and partaking of a real supper without any faked tongue4 ,as they all agreed1 it was not a bad scare for the money1 as a very small sum represented the entire outlay for working ,the ,mysterious ,room4 ,,chapter ,,xxvi ,,mechanical ,,second-,,sight ,,approaching ,,the ,,supernatural ,,an exhibition of so-called hypnotism and second-sight is a favorite item in the programmes of many professional entertainers4 ,if well managed1 the performance appears miraculous1 and is sure to impress the majority of the audience as savoring strongly of the supernatural4 ,the exhibition is usually somewhat of the following nature4 ,a young lady is presented to the audience as being possessed of the marvelous faculty of second-sight1 so keenly developed that she is able to see and describe whatever falls under the observation of her double4 ,needless to say1 this individual is the performer who introduces her4 ,having given this explanation1 ,prof4 ,b1 as he may be called1 bandages the eyes of the gifted young lady1 ,mlle4 ,c1 and seats her on the stage in full view of the spectators4 ,the ,professor now walks amongst his audience and asks some person to whisper a number4 ,this having been done1 he calls out to ,mlle4 ,c1 desiring her to state this whispered number1 which she cannot possibly have heard4 ,without the least hesitation ,mlle4 answers correctly4 ,the ,professor will perhaps now ask for a coin1 and at his request she will describe it accurately1 give its date and value1 and any other particulars desired4 ,in the same way she will give the number of a bank-note1 describe any article the ,professor may happen to be holding in his hand1 or even tell to what he is pointing4 ,with many other tricks as wonderful and mysterious does the ,professor attempt to beguile the audience into a belief in his occult powers4 ,it may be very uncharitable to give the ,professor's deceptions away1 but that is what this chapter will do for the benefit of its readers4 ,the whole secret lies in a private code understandable only by the two performers4 ,by using this ,prof4 ,b tells his accomplice exactly what she has to answer1 gives her the numbers and describes the objects1 quite unknown to his listeners4 ,all that is necessary is a good memory and quick hearing4 ,given these essentials1 the rest is simple4 ,let us begin by describing the code with which the ,professor apprises ,mlle4 ,c of the various numbers chosen by the audience4 ,the units are expressed by letters from which ,prof4 ,b forms sentences when addressing ,mlle4 ,c4 ,a very commonly used code is this3-- #a is represented by t #b n #c m #d r #e l #f h #g k1 g1 or c #h f1 v1 or w #i p or b #j s or z ,to use this code properly two things are necessary4 ,mlle4 ,c must know how many figures the number consists of1 and she must also know when the code is finished4 ,the latter point is easily settled4 ,when she hears the words1 8if you please10 she knows that whatever follows has no code meaning whatever1 whilst everything that precedes these words carries a hidden meaning4 ,by the use of the following words the number of figures is conveyed in a perfectly unmistakable manner4 ,for one figure use the word figure4 two figures number4 three very well4 four very well1 sir 7,mlle4 or madam74 five very good4 six very good1 sir 7or madam74 ,the following explanation shows how to put this into practice4 ,taking all the numbers successively from one to ten 7a thing that would never be done in an ordinary way71 ,prof4 ,b conveys to his fair friend the desired information by means of the sentences subjoined4 ,prof4--,tell this figure4 7t #a2 8figure0 one number47 ,now1 what is this figure8 7n #b47 ,might ,i ask this figure8 7m #c47 ,repeat this figure4 7r #d47 ,let me know this figure4 7l #e47 ,have you understood8 7h #f47 ,give me this figure4 7g #g47 ,will you repeat this8 7w #h47 ,please tell me this figure4 7p #i47 ,prof4--,this seems an easy number4 7t #a1 s #j2 8number0 means two figures4 ,ans4 #aj47 ,prof4--,now1 please1 tell this number4 7n #b1 p #i2 word 8number0 means two figures4 ,ans4 #bi47 ,prof4--,very well1 let me know this4 78,very well0 means three figures2 l #e1 m #c1 k #g4 ,ans4 #ecg47 ,prof4--,very good1 ,mlle4 ,now repeat clearly what this is1 if you please4 78,very good1 ,mlle410 means six figures2 n #b1 r #d1 c #g1 w #h1 t #a1 s #j4 ,ans4 #bdghaj47 ,sometimes the ,professor asks some person present to come upon the stage1 and write certain figures upon a blackboard provided for the purpose4 ,the method of communicating the numbers is the same1 but the ,professor in this instance points to each figure in turn1 tells it to the lady1 and awaits her reply before proceeding4 ,for example1 suppose the number #fchbai to have been written by a gentleman4 ,prof4--,very good1 sir 7turning to ,mlle4 ,c74 ,how many figures have been written upon the board8 ,mlle4--,six4 ,prof4 7pointing to first figure7--,how about this8 7h #f47 ,mlle4--,six4 ,prof4--,may ,i ask this8 7m #c47 ,mlle4--,three4 ,prof4--,well6 7w #h47 ,mlle4--,eight4 ,prof4--,now1 if you please4 7n #b47 ,mlle4--,two4 ,prof4--,this8 7t #a47 ,mlle4--,one4 ,prof4--,please4 7p #i47 ,mlle4--,nine4 ,prof4--,that is all right4 7,this is invariably understood to mean that the experiment is completed47 ,should any smart person write a number like #iiiii1 and smile expectantly1 awaiting the ,professor's confusion1 he will be doomed to disappointment1 for ,prof4 ,b merely says to him 8,very good03 and turning to ,mlle4 ,c1 says 8,please10 and she answers immediately1 8,there are five nines40 ,of course the ,professor's 8very good0 has told her that there are five figures1 and the 8please0 has told her that they begin with nine4 ,finding that the ,professor does not say anything more1 she presumes they are all the same1 and replies accordingly4 ,this system of coding is applied in a similar manner to the letters of the alphabet1 and by this means any word can be easily spelled4 ,but to avoid detection1 the letters have to be transposed somewhat after the following fashion1 which must only be considered as an example1 being too easy of detection for practical use4 ,a becomes ,b ,b ,c ,c ,d ,d ,e ,e ,f ,f ,g ,g ,h ,h ,i ,i ,j ,j ,k ,k ,l ,l ,m ,m ,n ,n ,o ,o ,p p ,q ,q ,r ,r ,s ,s ,t ,t ,u ,u ,v ,v ,w ,w ,a ,x 8now0 ,y 8easy0 ,z 8plain0 ,to show how this is used1 it may be supposed that the ,professor has in his hand a brown cap1 which some little boy in the audience has given him4 8,do be quick1 if you please1 and tell me what ,i have in my hand80 7d c1 b a1 q p47 8,a cap10 answers ,mlle4 ,c4 8,come1 say precisely1 if you please1 what color80 7c b1 s r1 p o47 8,it is a brown cap10 answers she4 ,this system can be simplified yet further by coding the various objects most likely to be required1 in a way similar to the following3-- ,touch part of clothing4 ,look at part of the room4 ,point part of figure4 ,oh yes6 letter or piece of paper4 ,most certainly coin1 other than money4 ,yes1 if you like a watch4 ,this is harder some trinket4 ,i am afraid this is harder a ring4 ,an excellent idea a playing card4 ,as an example of how this code can be employed1 it may be imagined that the ,professor lays his hand casually upon a gentleman's coat-sleeve4 ,prof4--,what am ,i touching8 ,mlle4--,a part of some one's clothing4 ,prof4--,tell me fully what1 if you please8 7t s1 m l1 f e1 w v2 which reads 8sleeve407 ,mlle4--,i can dimly see a sleeve4 ,prof4--,have you found only a sleeve8 7h g1 f e1 o n2 reading 8gent407 ,mlle4--,yes1 ,i see a gentleman's sleeve4 ,or as another example1 imagine that some one produces a seal4 ,prof4 7loud enough for ,mlle4 ,c to hear7--,this is harder4 ,this fairly bothers me 7looking at it closely74 ,mlle4 7who has understood 8,this is harder0 to mean a trinket1 and 8this fairly bothers me0 to read ,seal7--,i can see quite plainly that it is a seal4 ,prof4--,both initials1 if you please4 ,mlle4--,a1 and then ,h4 ,prof4--,hurry up1 if you please4 ,what metal is it made of8 ,mlle4--,it is made of gold4 ,this last answer is based upon another code for the various metals1 which may be something like this3-- ,brass is represented by ,t ,copper ,c ,silver ,d ,gold ,h ,iron ,j ,tin ,m ,some person in the audience hands the ,professor a silver cigarette case1 and1 looking up to the stage1 he remarks-- 8,this is harder4 ,come1 perfectly1 now60 7c b1 p o1 now x47 8,i see a box10 murmurs ,mlle4 ,c dreamily4 8,describe it40 7d silver47 8,it is made of silver40 8,do just have something further1 if you please40 7d c1 j i1 h g1 s r1 f e--making 8cigre407 8,it looks like a cigarette box--a cigarette case40 8,let us know the number of cigarettes in it80 7l #e47 8,there are five cigarettes40 8,well1 just say1 if you please1 what kind80 7w v1 j i1 s r47 8,they are cigarettes of ,virginia tobacco40 ,money should be designated by ,n1 which1 as you remember1 is the code letter for ,m4 ,the following will then come in handy3-- ,gold is coded as #a1 silver as #b1 copper as #c1 and paper as #d4 8,now1 if you please1 tell me what ,i have in my hand80 8,i see money40 8,nature80 7n #b silver47 8,silver40 8,let's see1 if you please1 how you would describe this coin80 7l #e1 s #j47 8,i see a fifty-cent piece40 8,the piece seems new80 7t #a1 p #i1 s #j1 n #b47 8,the date is #aijb40 ,holding out a handful of money1 containing say1 a five-dollar gold piece1 two fifty-cent pieces1 four quarters1 and five cents in copper1 ,the ,professor says1 8,tell this1 if you please1 the number of coins in my hand80 7t #a1 t #a47 8,eleven10 answers ,mlle4 ,c4 8,true4 ,now1 ,mademoiselle1 if you please1 tell me the nature of it80 7t #a gold1 n #b silver1 m #c copper47 8,gold1 silver1 and copper40 8,leaving1 if you please1 the others1 let us start with the gold40 8,a five-dollar gold piece40 8,now1 if you please1 silver40 8,i see two dollars in silver40 8,likewise1 if you please1 the copper80 8,five cents40 8,all right40 ,the code for playing cards should be formed in much the same way4 ,the following is a suggestion of what might be arranged3-- ,the cards1 commencing with the ace and finishing with the king1 should be numbered one to thirteen inclusive4 ,the suits can then be distinguished thus3-- ,good hearts2 very good diamonds2 well clubs2 very well spades4 ,supposing that the ,professor has handed a pack of cards to some person among the spectators1 who has drawn the knave of clubs4 8,very well1 sir10 says the ,professor4 8,there tell1 if you please1 what card this is80 7,very well clubs1 there tell eleven1 i4e4 the knave47 8,you are holding the knave of clubs in your hand10 replies ,mlle4 ,c4 8,good4 ,look1 if you please1 and tell what this is80 8,the five of hearts40 8,very good1 ,mademoiselle4 ,tell me1 if you please1 what this card is80 8,the king of diamonds40 8,well1 this80 8,the ace of spades40 ,at this point it is not an uncommon thing for some skeptical person present to take a card and demand to know its value without having shown it to the ,professor4 ,the latter rises to the occasion immediately4 ,he explains that ,mademoiselle can only see what he actually sees himself1 her sight being second to his own4 ,casually drawing a card1 and not showing it to anybody1 he remarks1 8,very well1 ,mademoiselle1 tell me1 if you please1 what this is80 8,the three of clubs10 she answers2 and the ,professor then shows the card to all1 demonstrating the skill of the gifted lady4 ,for an extensive programme a greater number of codes is necessary4 ,we give an idea for some of these which may prove of use4 ,an unfailing memory is essential to second-sight1 and the greater the number of codes that can be learned1 the more sure of success can both performers feel4 ,,clothes ,,and ,,materials ,coat ,c ,overcoat ,,oc ,dress ,coat ,,dc ,waistcoat ,g ,trousers ,t ,boots ,b ,shoes ,s ,handkerchief ,n ,bodice ,e ,skirt ,f ,shawl ,h ,wrapper ,a ,silk ,q ,cloth ,p ,serge ,o ,cotton ,m ,touching a lady's wrapper1 the ,professor says3 8,what do ,i touch8 ,answer quickly1 if you please40 7,touch part of clothing1 ,a wrapper1 ,q silk47 8,you are now touching a silk wrapper10 replies ,mlle4 ,again there may be a separate code for flowers1 to be introduced by 8,what is this before me80 to show ,mlle4 ,c that the ,flower ,code will follow4 ,rose ,s ,violet ,w ,snowdrop ,t ,pansy ,q ,carnation ,d ,orchid ,p ,narcissus ,e ,pink ,r ,white ,a ,red ,b 8,what is this before me8 ,be descriptive40 8,a red carnation10 replies the lady unhesitatingly4 8,well1 if you please1 what is this flower80 8,it is a violet40 ,the ,professor and ,mlle4 ,c have nearly finished their entertainment4 ,but before bowing farewell to the company1 he approaches a little girl1 let us say in the audience1 and in a whisper asks her age4 ,with the utmost secrecy she informs him that she is just nine4 8,pray1 how old is my little friend here80 he demands of ,mlle4 8,nine years old10 she replies at once4 8,what is your name80 whispers the ,professor to the little girl4 8,margery10 she whispers back4 8,now6 ,be sure6 ,having found so easily1 if you please1 her age1 what is the young lady's name80 7,n m1 b a1 s r1 h g1 f e1 s r1 easily y47 8,her name is ,margery10 is the reply2 and with this pretty example of his power1 the ,professor will close the evening4 ,i have dealt at such length with the ,professor and his codes1 because it is the easiest and most general system of mechanical second-sight4 ,but ,professor ,b and ,mlle4 ,c have yet another system of second-sight1 more puzzling still to the spectators1 as not a word is exchanged between either of the confederates during the whole performance4 ,seating the lady upon the stage1 facing the audience1 and omitting to bandage her eyes1 ,professor ,b goes down amongst the spectators as before1 examines various articles1 is told different numbers and touches sundry objects exactly as in the former entertainment4 ,without speaking a single word he merely glances at ,mlle4 ,c1 who after a few seconds mentions the number or describes the article as the case may be4 ,all this is highly mysterious1 and is the result of a very ingenious mode of signaling which may be thus explained4 ,as soon as ,professor ,b raises his eyes to ,mlle4 ,c they both start counting to themselves1 and the instant he drops his eyes they cease4 ,this has been practiced over and over again until they have learned to count exactly at the same speed4 ,the result is that when the ,professor has counted five1 let us say1 ,mlle4 ,c has counted five also1 and so with any number4 ,the alphabet is then coded with numbers according to the following system4 #a #b #c #d #e #f -------------------- #a ,f ,e ,d ,c ,b ,a #b ,g ,h ,i ,j ,k ,l #c ,r ,q ,p ,o ,n ,m #d ,s ,t ,u ,v ,w ,x #e - - - - ,z ,y ,the letters are represented by the vertical figures on the left and the horizontal figures on the top1 and by this ingenious means are communicated4 ,to signal the letter ,a the ,professor would glance up at ,mlle4 ,c1 count one1 and then glance down again2 he would then look up and count six and lower his eyes once more4 ,supposing that some lady had lent a diamond ring1 the process would be the following3-- 7,the letter ,u shows when the ,professor raised his eyes1 and the letter ,d when he lowered them4 ,the dots designate the numbers he would count in the interval47 ,prof4--7without speaking74 ,u 444 ,d1 ,u 4 ,d ,r1 ,u 44 ,d1 ,u 444 ,d ,i1 ,u 444 ,d1 ,u 44444 ,d ,n1 ,u 44 ,d1 ,u 4 ,d ,g4 ,mlle4--,you have a ring in your hand4 ,prof4--,u 4 ,d1 ,u 444 ,d ,d1 ,u 444 ,d1 ,u 444444 ,d ,m1 ,u 444 ,d1 ,u 44444 ,d ,n4 ,mlle4--,it is a diamond ring4 ,prof4--,u 4 ,d1 ,u 4444 ,d ,c #c4 ,mlle4--,it has three stones4 ,with reference to this last answer it must be explained that the numerals are represented by the letters of the alphabet1 ,a #a1 ,b #b1 ,c #c1 c4 ,or again some person holds a bank-note numbered #aedih4 ,the ,professor communicates this number thus3-- ,u 4 ,d1 ,u 444444 ,d #a1 ,u 4 ,d1 ,u 44 ,d #e1 ,u 4 ,d1 ,u 444 ,d #d1 ,u 44 ,d1 ,u 444 ,d #i1 ,u 44 ,d1 ,u 44 ,d #h4 ,mlle4 ,c then remarks1 8,the number is #aedih40 ,cumbersome as this may seem at first1 a little practice enables the signaling and translating to be done with great rapidity4 ,all the codes previously described can be introduced1 numbers being substituted for letters1 or letters for numbers1 as may seem expedient4 ,mechanical second-sight has an extraordinary effect in an entertainment if well done4 ,both the ,professor and his accomplice must be sharp and sure1 the least mistake being not only disconcerting1 but likely to arouse the suspicions of the spectators4 ,if a mistake be made1 the only thing to be done is for the ,professor to pretend that he has himself mistaken the number or not noticed the object properly1 and if this fail he must have recourse to pure 8bluff40 ,all things considered1 the number of out-of-the-way objects likely to be produced is really very few1 and there is no reason why an intelligent couple of amateurs with retentive memories should not provide a successful exhibition of second-sight wherewith to amuse their credulous friends4 ,,chapter ,,xxvii ,,papergraphy ,,how ,,an ,,excellent ,,entertainment ,,may ,,be ,,given ,,with ,a ,,sheet ,,of ,,paper ,,the greatest attraction wielded by ,papergraphy is1 perhaps1 the extreme simplicity of the apparatus required4 ,at first sight it seems utterly impracticable that a first-class entertainment1 of almost a quarter of an hour's duration1 can be given with a sheet of paper4 ,moreover1 very little practice is necessary4 ,cartridge paper is the kind usually employed by professional entertainers1 and a suitable size is #ed inches by #cf4 ,a sheet of these dimensions may be purchased from any stationer's or dealer in artists' requisites4 ,illustration3 ,,fig4 #a4--,paper folded4 ,illustration3 ,,fig4 #b4--,paper pleated4 ,illustration3 ,,fig4 #c4--,rosette4 ,the paper must be marked out lengthwise into five parts2 the central section being #ab inches wide and the two on each side #f inches in width4 ,the paper should next be folded along these lines 7,fig4 #a71 and once again folded into a series of pleats1 as depicted in ,fig4 #b4 ,a convenient width for these pleats is #a inch4 ,all being now ready for the first demonstration in ,papergraphy1 commence by forming a ,rosette 7,fig4 #c74 ,close up the pleated paper1 and pull round the corners of each until they meet4 ,table ,mat 7,fig4 #d74 ,keeping hold of the ends of the rosette1 stretch out the pleats as far as possible4 ,a ,primitive ,boat 7,fig4 #e74 ,with the pleats still fully extended1 turn each end up1 almost at right angles4 ,illustration3 ,,fig4 #d4--,table mat4 ,illustration3 ,,fig4 #e4--,primitive boat4 ,church ,window 7,fig4 #f74 ,this is formed very similarly to the table mat1 the difference being that one end is allowed to hang straight down4 ,fan 7,fig4 #g74 ,close up the pleats and spread out one end in the form of a semicircle4 ,for the next series of transformations1 the first fold 7,a1 ,fig4 #a7 must be opened4 ,illustration3 ,,fig4 #f4--;,church window4 ,illustration3 ,,fig4 #g4--;,fan4 ,illustration3 ,,fig4 #h4--,mushroom4 ,mushroom 7,fig4 #h74 ,pull both ends round to form a cylinder1 with the open fold at the top4 ,candlestick 7,fig4 #i74 ,this is made by simply turning the mushroom upside down4 ,clown's ,hat 7,fig4 #aj74 ,press the top of the candlestick together1 making it as pointed as possible1 and place upon the head1 with the folded bottom acting as a brim4 ,the second fold--on the same side as the fold already employed--must now be opened4 ,flower ,vase 7,fig4 #aa74 ,keeping the two folds well open1 pull the ends round1 into the form of a cylinder4 ,eastern ,water-,jug 7,fig4 #ab74 ,bend the paper round in the reverse direction to that forming the flower vase4 ,then close the bottom end1 and place on the shoulder1 as though carrying a pitcher4 ,illustration3 ,,fig4 #i4--;,candlestick4 ,illustration3 ,,fig4 #aj4--,welsh hat4 ,chinese ,mandarin 7,fig4 #ac74 ,turn the ,eastern ,water-,jug upside down1 and place it upon your head4 ,slight facial contortions can always be made with good effect whenever the three hats included in this list are formed4 ,illustration3 ,,fig4 #aa4--;,flower vase4 ,illustration3 ,,fig4 #ab4--;,eastern water-jug4 ,the first fold 7,a1 ,fig4 #a7 must next be opened on both sides4 ,sentry ,box 7,fig4 #ad74 ,pull round the two corners of one end until they meet1 allowing the other end to hang down to its fullest extent4 ,wash ,bowl 7,fig4 #ae74 ,pull round the corners of both ends until they meet1 and press the pleats together4 ,foot-,bath 7,fig4 #af74 ,still grasping the ends of the wash bowl1 draw the pleats out as far as possible4 ,fatigue ,cap 7,fig4 #ag74 ,turn the foot-bath upside down and place upon the head4 ,for the remaining papergraphs1 all the folds must be opened4 ,illustration3 ,,fig4 #ac4--;,chinese ,mandarin4 ,illustration3 ,,fig4 #ad4--,sentry box4 ,dumb-,bell 7,fig4 #ah74 ,with the folds open on both sides1 pull the pleats round into a cylinder4 ,then grasp the dumb-bell by the center with your right hand1 and bending your forearm1 flex the biceps as though exercising4 ,bon-bon 7,fig4 #ai74 ,bend the paper round the reverse way to that forming the dumb-bell4 ,illustration3 ,,fig4 #ae4--,wash bowl4 ,illustration3 ,,fig4 #af4--;,foot-bath4 ,illustration3 ,,fig4 #ag4--;,fatigue cap4 ,granny's ,cap 7,fig4 #bj74 ,open out the pleats1 and place the paper upon the head1 pulling the sides down over the ears1 to the chin4 ,after a little practice1 all that it is necessary to do in order to give a successful entertainment is to learn the correct order in which the transformations take place4 ,for the first two or three performances it is a good plan to write out a list of the various 8folds0 upon a small slip of paper1 which should be placed in such a position that a hasty glance can be thrown at it in case of the memory failing4 ,as will doubtless have been noticed1 the different folds have been so arranged in the article that each transformation leads up to the next4 ,it is therefore of great importance that the performer should remember their correct order4 ,otherwise he may suddenly find himself attempting to make a fold with only one pleat opened1 when really three are required4 ,it is at such moments as these that the young entertainer wishes the ground would open beneath him1 that a cyclone would whisk him away1 or that any other phenomenon might occur which would carry him beyond the gaze of his inquisitive audience4 ,when making a fresh transformation1 the performer should move his arms gently from side to side1 and sway slightly from the hips--very much as though he were holding a concertina4 ,this will lead the audience into the belief that he is engaged upon some extremely difficult fold1 and will completely hide the simple movement he is really making4 ,if the performer is a good elocutionist1 and possesses plenty of self-confidence1 he might prepare some 8patter0 to go with the performance4 ,an excellent alternative1 however1 is to ask somebody to play a dreamy waltz from the piano throughout the performance4 ,it will then only be necessary for the entertainer to make a few introductory remarks before commencing his 8show02 to announce the name of each transformation as he makes it1 and finally to thank the audience for the attention with which they have followed his few experiments in ,papergraphy4 ,illustration3 ,,fig4 #ah4--;,dumb-bell4 ,illustration3 ,,fig4 #ai4--;,bon-bon4 ,illustration3 ,,fig4 #bj4--;,granny's cap4 ,,chapter ,,xxviii ,,juggling ,illustration3 ,,fig4 #a4--,the vertical fall4 ,,how ,,to ,,master ,,the ,,principles ,,of ,,the ,,art ,,there is no reason why any boy possessed of an average amount of dexterity should not be able to perform many juggling tricks after a certain amount of careful and patient practice4 ,by a close study of the following instructions1 a clear idea of the principles of the art can be obtained2 and when these principles have been mastered1 the beginner should have no difficulty in elaborating the tricks to suit his own fancy4 ,as the system of juggling with knives1 plates1 or clubs is founded entirely upon the methods employed in manipulating balls1 the simplest plan is to learn the tricks with these last before adapting them to larger objects4 ,any kind of ball may be employed for juggling1 but the specially-prepared balls1 made of heavy metal1 are the best1 and can be purchased for a small sum in a set of four from any dealer in games4 #a4 ,,the ,,vertical ,,fall ,a ball should be thrown into the air in such a manner that it will descend to the exact point from which it was projected1 as in ,fig4 #a4 ,it is quite unnecessary to throw the ball higher than four feet4 ,by an observation of the usual method of catching a ball1 it will be noticed that the hand usually follows the course of the ball2 but the great object of the juggler is to learn to catch without moving the hand from the position it occupied when throwing the ball into the air4 ,the great point of the vertical fall is to teach the beginner to move his hands as little as possible1 and for this reason the exercise should be practiced with both right and left until such precision is acquired that the movement can be accomplished with the eyes closed4 #b4 ,,inside ,,and ,,outside ,,falls ,the inside fall is done by throwing the ball with the right hand1 in such a way that it describes a curve and drops towards the left1 as in ,fig4 #b4 ,but instead of catching it with the left hand1 catch it with the right by a rapid movement of the hand across the body4 ,the ball being held in the right hand1 it should be thrown back from left to right in a similar way1 as in ,fig4 #c4 ,the latter is called the outside fall4 ,this exercise is intended to teach the beginner to throw the ball several times in succession from side to side without its deviating from its course4 ,the principle involved is very important for jugglery1 and must be thoroughly acquired before proceeding with other tricks4 ,illustration3 ,,fig4 #b4--,the inside fall4 ,illustration3 ,,fig4 #c4--,the outside fall4 #c4 ,,the ,,parallel ,,fall ,this fall presents greater difficulties4 ,the ball should be thrown with the right hand1 as in the vertical fall1 although the hand must be kept in a line with the shoulder4 ,as soon as the ball has been caught1 the hand must be rapidly brought into line with the left shoulder1 the ball thrown from that position1 and caught 7,fig4 #d74 ,having learned the trick with the right hand1 it is essential to become accustomed to perform it equally well with the left hand1 moving it to the right shoulder4 #d4 ,,falls ,,from ,,right ,,to ,,left ,both hands are required for these falls1 which are simply an adaptation of what has just been described4 ,the ball should be thrown exactly as described in ,no4 #b1 but instead of moving the right hand across the body to catch the ball when it falls on the left side1 the left hand should catch it1 as in ,fig4 #e1 and should immediately return it by means of the outside fall to the right hand4 ,but little practice is required to learn this perfectly1 and when smartly performed it makes a pretty display4 ,illustration3 ,,fig4 #d4--,the parallel fall4 ,illustration3 ,,fig4 #e4--;,falls from right to left4 #e4 ,,the ,,horizontal ,,pass ,in this exercise the ball should be thrown from hand to hand in as straight a line as possible 7,fig4 #f71 whilst the beginner must endeavor1 by continually increasing the distance between his hands1 to maintain a rapid volley4 ,illustration3 ,,fig4 #f4--,the horizontal pass4 #f4 ,,the ,,double ,,vertical ,,fall ,this is the first trick requiring two balls1 and will need some attention4 ,a ball should be taken in each hand1 and the simple vertical fall performed with the right4 ,before this ball has descended1 however1 the ball in the left hand must be thrown in the air1 as in ,fig4 #g1 so that the two balls are continually in motion4 ,it is at this point that the juggler will find the advantage of being proficient in the use of both hands for the single vertical fall4 ,illustration3 ,,fig4 #g4--,the double vertical fall4 ,illustration3 ,,fig4 #h4--,variation of double fall4 ,a variation of this double fall can be acquired in the following manner3-- ,both balls should be thrown up at the same time1 as in ,fig4 #h1 the hands being kept about two feet apart1 care being taken that neither of the balls is thrown higher than the other4 ,the beginner must practice these thoroughly until perfectly accustomed to having the two balls in motion simultaneously4 #g4 ,,the ,,double ,,inside ,,fall ,this is a repetition of the outside and inside falls1 but performed with two balls at once1 and with both hands4 ,the utmost care must be exercised to avoid a collision as they pass one another1 and for this reason one ball must be thrown higher than the other1 as in ,fig4 #i4 ,until proficiency is attained the balls should be thrown at various heights1 and the hands well apart4 #h4 ,,the ,,triple ,,pass ,having acquired the last trick perfectly1 the beginner should now bring into use a third ball4 ,a glance at ,fig4 #aj will show that the triple pass is nothing but the double inside fall performed with an additional ball4 ,two balls are held in the left hand1 and one in the right1 the former being numbered #a and #c1 and the latter #b4 ,ball ,no4 #a is thrown from the left hand1 and as soon as it is in the air1 ,no4 #b is sent off from the right1 after which ,no4 #c is thrown from the left hand4 ,it will be noticed from ,fig4 #aj that ,no4 #a is sent the highest and ,no4 #c the lowest1 and by this means a collision can best be avoided4 ,the greatest care must be taken to throw the balls regularly1 otherwise confusion will ensue4 ,illustration3 ,,fig4 #i4--,the double inside fall4 ,illustration3 ,,fig4 #aj4--,the triple pass4 ,to keep up the volley1 each ball must be sent off again as soon as it has been caught1 so that after the first throw neither hand holds more than one ball at a time4 #i4 ,,the ,,triple ,,over ,,pass ,the only difference between this and the ,triple ,pass is that each ball1 as thrown1 passes over instead of under the ball that precedes4 ,this is shown in ,fig4 #aa1 where ,no4 #b passes over ,no4 #a1 whilst ,no4 #c is thrown the highest of all4 ,this trick is usually combined with the ordinary ,triple ,pass1 and from the spectator's point of view presents no difference4 #aj4 ,,the ,,shower ,this is one of the prettiest of all the tricks of ,juggling1 and should be learned with two balls4 ,take a ball in each hand and throw the right one in the air towards the left1 whilst as soon as it is in the air pass the left hand ball to the right hand1 as in ,fig4 #ab4 ,the moment this latter ball has been caught it must be thrown up in the wake of the first ball1 and the whole trick continued as quickly as possible1 so that one ball is always in the air4 ,illustration3 ,,fig4 #aa4--,the triple over pass4 ,illustration3 ,,fig4 #ab4--,the shower4 ,this should be practiced continually until perfection is attained1 as it forms an introduction to-- #aa4 ,,the ,,triple ,,shower ,two balls must be taken in the right hand1 and one in the left4 ,the first two should be thrown in rapid succession from the right to the left1 the ball in the latter hand being passed to the right1 as in the ,simple ,shower4 ,as each ball reaches the left hand pass it rapidly across1 as in ,fig4 #ac1 and start it off in the air once more4 ,the trick has the effect of making the spectators imagine that you have a large number of balls in your hands1 and the more quickly the trick is done the greater the deception4 ,by starting with three balls in the right hand and one in the left a still prettier display can be provided with little extra trouble4 ,in this case1 however1 the balls will have to be thrown rather higher to give the left hand more time to catch the balls and pass them successfully4 ,as a final exercise the beginner should learn-- #ab4 ,,the ,,double ,,over ,,fountain ,four balls are required for this1 a couple being taken in each hand1 ,nos4 #a and #c being in the left and ,nos4 #b and #d in the right hand4 ,nos4 #a and #b are thrown up simultaneously in the simple ,vertical ,fall1 as in ,a1 ,fig4 #ad4 ,the hands are then rapidly moved apart and balls ,nos4 #c and #d are thrown over the first two balls in such a manner that they cross each other and are caught in the opposite hands 7,fig4 #ad74 ,the volley with those two balls is immediately returned and the hands are brought nearer together to catch and throw ,nos4 #a and #b again4 ,thus the fountain is kept up indefinitely4 ,it will be observed that the two hands constantly approach and separate1 as the two sets of balls are caught in turn1 and such action must be very smartly performed4 ,illustration3 ,,fig4 #ac4--,the triple shower4 ,illustration3 ,,fig4 #ad4--,the double over fountain4 ,the substitution of clubs or knives for balls can be easily effected1 although the performance is none the better for the change4 ,in using knives1 the juggler should see that the handles are well weighted to insure that part of the object falling into his hand4 ,the substitution of knives is not sufficiently interesting to compensate for the additional risk1 and the amateur may very well dispense with them4 ,plates and clubs are equally unwieldy1 and the juggler can scarcely do better than content himself with the plain balls1 the manipulation of which is certain to provide a pretty and interesting entertainment at all times4 ,,chapter ,,xxix ,,plate-,,spinning ,,and ,,waltzing ,,an ,,exciting ,,entertainment ,,few things are productive of such literally breathless interest as plate-spinning4 ,in what a state of agonized anxiety your audience will be as they watch you imperturbably spinning a soup-plate on the end of a rod4 ,how they will catch their breaths as they expect it to fall1 and how surprised they will be when it keeps its position6 ,yet if you inform them that it is not so difficult as it looks1 you will be stating a fact1 although the art is acquired only after considerable practice and at the cost of several plates4 ,to minimize the breakage of crockery it will be as well to begin your experiments with a mattress laid upon the floor1 or failing this1 with a good substantial down comforter4 ,the first attempts will not then be accompanied by such mortality amongst the plates4 ,procure a rod or wand upon which the plates are to be spun4 ,a round stick1 about #b feet long1 is the most suitable for the purpose4 ,care should be taken to see that it is straight1 and it must be well sand-papered in order to remove any roughness 7,fig4 #a74 ,illustration3 ,,fig4 #a4--,spinning wand4 ,now reduce one end of the stick to a dull point1 which must further be prepared by a rather strange process4 ,place this pointed end in your mouth and moisten it until it is quite soft and all the hardness of the wood has been removed4 ,when properly softened the fiber of the wood will remain whilst all the 8starch0--if one may so call it--has disappeared4 ,this preparation gives the stick a certain grip on the plate which is indispensable for successful spinning4 ,next take a soup-plate1 as in ,fig4 #b1 and make it revolve rapidly upon the dull end of the rod4 ,to do this the following instructions and hints should be noted4 ,the rod should have a rapid circular motion imparted to it by the wrist1 so that it cuts a circle of about the same circumference as the soup-plate4 ,the arm should be motionless1 the whole movement being confined to the wrist4 ,the beginner must not expect immediate success1 but after considerable practice the knack of describing the circle with the end of the rod will be acquired4 ,now1 by making these circles with the plate upon the end of the wand you will find that the plate itself begins to spin rapidly1 and at length1 when it has attained a certain velocity1 it finds its center upon the point of the rod and revolves so steadily as to appear motionless 7,fig4 #c74 ,practice spinning with the left hand as well as with the right1 for in many cases it is necessary to transfer the wand from one hand to the other4 ,probably you will find greater difficulty with the left hand1 but perseverance is all that is required--perseverance and the mattress6 ,illustration3 ,,fig4 #b4--,the first stage4 ,illustration3 ,,fig4 #c4--,the plate finding its center--second stage4 ,it is a great mistake to choose a light plate for spinning4 ,the heavier it is the easier it will be to spin1 and you will find that dishes 7not necessarily round7 will be the best spinners of all4 ,do not forget that very heavy dishes soon tire the wrist and make it too unsteady for successfully exhibiting other tricks4 ,so far the modus operandi with unprepared and ordinary plates has been described4 ,it is quite as well that the learner should begin with these1 as the greater difficulty in balancing and spinning will have taught a lesson that will render him more at ease with the prepared plates4 ,procure another wand1 which need not be 8softened40 ,sharpen one end into a point1 not so dull as in the former case1 but with a clearly defined apex4 ,,prepared ,,plates ,as to the prepared plates4 ,take for example a thick soup-plate4 ,from the center of the bottom of this plate a small1 shallow piece must be drilled away1 as in ,fig4 #d1 which represents a section of the article4 ,any china riveter will do this for you1 and will1 at your request1 polish the cavity after it has been drilled4 ,explain the purpose for which you want it done1 as that will insure his making the hole in the dead center4 ,illustration3 ,,fig4 #d4--,plate with drilled cavity for spinning4 ,you will now find that this plate not only spins much more easily1 but will continue revolving upon the rod for a great while1 even after you have ceased working the latter with your wrist4 ,this is an important consideration in view of the balancing feats to be accomplished4 ,the next thing to practice is catching the plates in mid-air upon the tip of your wand4 ,this is not so difficult as it sounds1 and should be easily learned4 ,toss the plate upwards1 as you do so giving it a smart turn or twist to the right1 so that it revolves rapidly upon its own center while ascending4 ,now bring the point of the rod under it1 and as the plate reaches its highest point in the air it will turn over and you will have an opportunity to get the stick into the hole in the center4 ,the plate will then spin upon the point of the rod1 and a few turns with the wrist will increase its speed and keep it going steadily for a time4 ,illustration3 ,,fig4 #e4--;,holding rod for catching4 ,illustration3 ,,fig4 #f4--,plate ready for tossing4 ,having mastered the principle of catching the plates in the manner described1 practice holding the rod and tossing the plate with the same hand4 ,hold the stick near to the point and between the fingers and the thumb 7,fig4 #e71 whilst the outspread fingers are in the bowl of the plate1 as in ,fig4 #f4 ,these are shown separately to give a clearer idea of the meaning4 ,now1 toss the plate into the air1 as has been explained1 again giving the wrist a smart turn to the right4 ,bring the rod sharply into position and catch the plate in the usual fashion4 ,,further ,,feats ,take a couple of rods1 one in each hand1 and send a plate spinning on the point of the right-hand rod4 ,by giving a sharp upward jerk you will send the plate high into the air1 and upon its descent you can catch it upon the end of the other rod4 ,if the plate has been tossed very high1 and is therefore likely to descend with some force1 care must be taken when catching it not to shatter it into pieces4 ,as soon as the plate touches the point of the wand1 lower the latter some distance with the plate1 and thus break the force of the impact--instead of breaking the plate4 ,this performance will prepare you for successfully achieving the following very effective show4 ,two persons are required for it1 however1 and both must be good spinners4 ,illustration3 ,,fig4 #g4--,plate spinning and balancing4 ,let each performer take a plate and a rod4 ,then both should spin their plates1 and throw them to each other1 catching the plates upon their respective wands4 ,the volley may then be returned in the same manner1 increasing the speed each time until the plates fly from one to the other like tennis balls4 ,the first attempts will probably result in a shower of broken crockery1 but practice will obviate such a palpable disadvantage1 and after a time you will be able to complicate the exhibition by taking a rod and plate in each hand1 thus having four plates flashing to and fro at the same time4 ,,balancing ,having graduated as a master of spinning and catching plates1 the opportunity has arrived for attempting to balance the spinning dishes4 ,this is largely a matter of knack1 although a sure eye and a steady hand are indispensable4 ,start a plate spinning on a rod1 and pass it to the left hand4 ,do the same with a second plate1 holding the rod likewise in the left hand1 taking great care1 of course1 that the plates do not collide4 ,now with the right hand start off a third plate1 and balance the rod upon your forehead or chin1 having done which pass one of the rods back from the left to the right hand4 ,this makes quite a pleasing exhibition1 as can be seen by ,fig4 #g1 and is well worth learning4 ,presuming you are now facing the spectators1 with the three plates spinning as in ,fig4 #g1 the question naturally arises1 how to stop the plates in a graceful manner8 ,there are several ways of doing this1 but the following will be found the simplest4 ,lower the rods in the two hands simultaneously until the plates can be grasped in the fingers4 ,then1 with the plate and rod still balanced upon your face1 lay the two plates upon a convenient table1 and taking one of the rods transfer the rod upon your chin to its point1 and thus balancing one upon the other bring the plate to rest4 ,supposing you have a plate spinning upon a wand1 balanced upon another as in ,fig4 #h1 practice the following method of dispensing with one of these rods4 ,illustration3 ,,fig4 #h4--,plate being spun upon two rods4 ,by a sharp upward movement jerk the plate into the air from the point of rod ,no4 #a4 ,this will1 of course1 by relieving the stick of its burden1 make it fall4 ,you then catch the falling rod smartly with the other hand4 ,but you must not forget during this time the plate which you have sent1 still spinning1 towards the ceiling4 ,upon its descent catch it neatly upon the tip of wand ,no4 #b1 and the trick is completed4 ,such are the rudiments of the arts of spinning and balancing4 ,having acquired a thorough knowledge of the various exercises and feats described1 the amateur spinner will have no difficulty in inventing new things for himself1 and will be able to emulate the feats of professional jugglers4 ,much patience and long-suffering are necessary1 but with a quick eye and a sure hand there is no reason why any person should not be able to provide a good plate-spinning entertainment4 ,,plate ,,waltzing ,there is a kindred branch of the art which may be described here1 and that is plate waltzing4 ,it is really nothing but an extension of the trick of spinning a coin upon the table1 which every one has done at some time or other4 ,a perfectly level table is essential4 ,to insure this it is a good plan to have a smooth1 unpolished board that can be laid upon a table and made perfectly level by adjusting small pieces of cardboard at the corners4 ,around the edge a slight border should be made1 rounded to the surface of the board1 as shown in ,fig4 #i4 ,this will prevent the plates from dancing off the table and on to the floor4 ,illustration3 ,,fig4 #i4--,showing section of table prepared for plate waltzing4 ,illustration3 ,,fig4 #aj4--,the plate waltz4 ,illustration3 ,,fig4 #aa4--;,how to set the plate in motion4 ,plates of any description and size1 from the delicate tea-plate to the burly wash-basin are eligible for the dance 7,fig4 #aj74 ,the following is the easiest way to start twirling a plate4 ,take a dinner-plate and stand it upon its edge on the table with the bottom of its upper edge resting against the extended forefinger1 as in ,fig4 #aa4 ,describe a small circle with this finger rather quickly1 and the plate will follow its motion4 ,continue passing the finger round and round1 accelerating the motion with each revolution4 ,the plate will then begin to revolve very quickly4 ,take your finger away when it has acquired sufficient impetus1 and leave the plate to dance by itself4 ,begin learning with one plate4 ,you will find that as it loses its impetus it begins to go slower and slower1 tending to settle bottom upwards upon the table4 ,but this is where your skill must be proved in preventing the fall from lack of momentum4 ,whilst the plate is revolving and before the first signs of falling are apparent1 touch the bottom of the plate fairly near the center with the tip of your finger1 moving this latter round in the direction followed by the plate4 ,this will have the effect of preventing the fall1 and will send the plate dancing on with renewed vigor4 ,considerable experience will be required to perform this successfully1 as the exact spot to be touched with the finger can only be ascertained after much practice4 ,large and heavy plates make the best dancers1 and it will be necessary sometimes to use two fingers when preventing the fall1 for the pressure must in all cases be firm and steady4 ,an ordinary plate is better than a soup-plate1 for not only is it more elegant1 but its even poise renders the revolutions steadier4 ,practice the use of both hands1 remembering1 however1 that the plates will revolve in different directions according to which hand you use4 ,the right hand will send a plate twirling from left to right1 whilst the left hand causes an opposite motion4 ,the plates will keep admirable time to regular waltz music1 and produce a pleasing effect4 ,keep your eye upon all of them1 being ready to render assistance to any of your dancers that show signs of subsiding upon the table4 ,,chapter ,,xxx ,,the ,,tight-,,rope ,,trick ,,balancing ,,there are probably few actions more graceful than those of a skillful equilibrist4 ,the necessity of maintaining a symmetrical posture and disposing the body in a well-balanced manner can produce nothing but a pleasing effect4 ,to a lithe and healthy boy there are endless opportunities for creating new figures1 whilst many will find an attraction in performing feats rarely attempted by any but professionals4 ,the whole strain of tight-rope walking is centered in the back4 ,the rigidity of the legs is also an important factor in maintaining the balance4 ,for this reason no child under ten years of age should ever be allowed to attempt anything of this sort1 for his bones and muscles will not be sufficiently developed until then4 ,all the arrangements for a tight-rope exhibition can be made in an ordinary drawing-room4 ,very few fixtures are required1 and the following instructions will give an idea of what must be done4 ,illustration3 ,,fig4 #a4--,method of fixing bars of wood4 ,the rope should be about four feet from the ground1 although if the room is lofty the rope may be even higher4 ,a length of good strong sash-cord should be used1 and thoroughly tested before every performance4 ,assuming that the rope is to be stretched at a height of #d feet1 the supports should be made in the following manner3-- ,two stout bars of wood1 not less than #a inch in diameter and #f feet long1 should be fastened together in the form of an irregular ,st4 ,andrew's ,cross1 as in ,fig4 #a4 ,they must be fastened by running a bolt through them at a distance of #a foot from the top4 ,the lower ends should then be beveled off at such an angle that the bars will rest evenly upon the floor4 ,to these beveled ends a metal plate should be fastened1 projecting outwards1 with a hole through which a thumb-screw can be passed1 as shown in ,fig4 #b4 ,these plates1 together with the metal screw-plate1 which should be fastened over the holes in the floor1 can be bought for a few cents from any hardware store4 ,the cross-pieces can then be erected and screwed into position1 as shown in ,fig4 #a4 ,illustration3 ,,fig4 #b4--,metal plate and screw4 ,strong hooks should now be driven into the floor just below the wainscoting and in a line with the screw plates4 ,lengths of very strong wire are to connect these hooks with the cross at ,h 7,fig4 #a74 ,when it is remembered that these pieces of wire bear the whole strain of the rope1 it will be evident that too much care cannot be exercised in making them secure and trustworthy4 ,a similar cross with its attachment must then be erected at the other side of the room where the tight-rope is to terminate4 ,at the spot ,h of this latter cross a piece of bright-colored cloth should be fastened1 for a purpose which will appear later4 ,the rope can now be stretched between the crosses1 every care being taken to see that it is securely fastened and is not in the least slack4 ,to simplify explanation1 the two ends of the rope1 with their respective supports1 will be called ,a and ,b1 the latter having the piece of colored rag4 ,in ,fig4 #c will be seen the arrangements so far completed4 ,for the purpose of mounting the rope and resting between the turns1 a pair of steps should be placed between ,a and the wall1 and so adjusted that the top step is on a level with the rope1 or even slightly higher1 say at #d feet4 ,,the ,,balancing ,,pole ,there is much difference of opinion amongst acrobats regarding the balancing pole4 ,some prefer it long and heavy1 whilst others dispense with it altogether4 ,amateurs can scarcely hope to do the latter1 however1 and #d ft4 #f in4 may be considered a suitable length4 ,the pole should be smooth1 round1 and even1 rather heavier than an ordinary broom-handle4 ,it will probably prove useful to mark its exact center by a notch4 ,a mattress must be laid beneath the rope to break any falls4 ,thin-soled dancing pumps should be worn1 the soles being well chalked before use4 ,such is the apparatus connected with the public performance of tight-rope walking4 ,the first attempts should be1 however1 on a rope suspended much lower1 not more than #a foot from the ground1 as it is useless to try a high rope until the knack of balancing has been acquired4 ,the assistance of two friends will be necessary for the first few trials4 ,each must hold a strap fastened around the performer's waist to support him until he has learned to find the center of gravity4 ,as he grows accustomed to the work their help will become less necessary1 and he will soon be able to dispense with their services4 ,illustration3 ,,fig4 #c4--,tight-rope ready for walking4 ,with the pole balanced in his hands1 his eyes fixed steadily upon the colored rag at ,b1 known as the 8point of sight10 and1 supported by his two friends1 the first essay is made upon the rope4 ,the feet should be turned out as much as possible1 and at each step the heel first and then the great toe placed upon the rope4 ,,the 8,,forward ,,walk0 ,according to the recognized canons of the art1 the first thing to be learnt is the 8,forward ,walk40 ,the gaze must never leave the 8point of sight40 ,each step must be made with the utmost care1 and perfect confidence gained before any attempt is made at more difficult tasks4 ,as soon as the feet begin to feel sore or tired1 practice should be abandoned for that day4 ,the next thing to be learned is walking backwards4 ,this is really no harder than the 8,forward ,walk0 and can be as easily acquired4 ,the eye should be steadfastly fixed on the rag as in the former case4 ,with the amateur there is always a tendency to run4 ,this must be checked1 and a stately gait acquired from the beginning4 ,after the 8,forward0 and the 8,backward0 walks comes the 8,forward ,spring40 ,both this and the 8,backward ,spring0 are difficult1 and can only be learned by constant practice and patience4 ,there will doubtless be a price to pay in the way of harmless falls and stumblings1 but everything can be learned in time4 ,indeed1 few instructions can be given that would prove of any real assistance to the beginner4 ,when once a person has learned to ride a bicycle1 the matter of balancing comes naturally2 so with rope walking4 ,as soon as the tyro has gained confidence and experience on the rope1 the difficulties of the 8jumps0 will gradually disappear4 ,having learned the walks and leaps on the tight-rope1 it only remains for the performer to adapt them according to his own ideas4 ,the aim and object of every professional is to produce some novelty in his branch of the art1 and the amateur must imitate him in thinking out some effective show to be produced 8up aloft40 ,the great ,blondin used to wheel out a barrow and cook his pancakes upon a rope suspended at an incredible height1 and it is in ideas such as these that the art of successful tight-rope walking consists4 ,,chapter ,,xxxi ,,clog ,,dancing ,a ,,novel ,,entertainment ,,when the old ,morris ,dances decayed in the country districts of ,england1 many of the local customs and manners died with them1 and are now entirely lost2 but what is considered a survival can yet be found1 and is familiar to many of us under the name of ,clog ,dancing4 ,the old ,morris ,dancers had attached to their ankles bands of bells1 which sounded with the jerking and kicking of the dancers' feet as they kept time with the measure and music of the accompaniment4 ,the use of these bells has now1 however1 almost entirely ceased1 and the heavy wooden clog alone remains4 ,in place of the ringing and jingling1 with which the ,morris man accompanied his dance1 the clog makes only a tapping against the floor1 sharper in its precision1 if less musical than the old bells4 ,the clogs suitable for drawing-room dancing have wooden soles and leather 8uppers40 ,these can be obtained in endless variety1 from the plain black or red morocco1 to the stylish patent leather shoes4 ,but whatever the style or make of the clogs1 one thing is essential--they must fit perfectly4 ,the appearance matters little1 so long as the clogs are an exact fit4 ,nobody present cares to see your feet1 but everybody desires to see a skillful dance1 and that cannot be performed with a loose shoe4 ,having obtained the shoes1 the next thing to arrange is the floor4 ,a smooth wood floor1 or a slate slab1 provide excellent surfaces for practicing and learning upon1 while for the actual drawing-room performance1 a thick1 smooth piece of wood1 about two and a half feet square1 and neatly polished1 is very suitable4 ,this can be moved at pleasure1 and taken away after the performance is concluded1 without any awkward rolling back of carpets or moving of furniture4 ,it is necessary now to devote a little attention to the more important steps to be learned4 ,in the diagrams illustrating this subject the letter ,r denotes the right1 and ,l the left foot1 and this must be constantly borne in mind to make the illustrations intelligible4 ,the first and most important thing to remember1 is to keep the toes well turned outwards wherever the nature of the figure does not render this impossible4 ,a glance at ,fig4 #a will illustrate this4 ,in all the steps practice with the left foot is needed more than with the right1 as the latter can generally be trusted to take care of itself4 ,,the ,,first ,,step ,the first step to learn is the shuffle1 which should be attempted with one foot first1 preferably the left4 ,stand firmly upon the right foot1 and strike the left toe forward 7as in ,fig4 #b7 towards ,a1 at the same time making a tap upon the floor4 ,draw it back from ,a towards ,b1 making another tap4 ,this should be done repeatedly until it is possible to make the taps in quick succession and in even time4 ,illustration3 ,,fig4 #a4--;,correct standing position4 ,illustration3 ,,fig4 #b4--,the single shuffle4 ,having mastered this with the left foot1 acquire the same proficiency with the right4 ,the ankle must be kept loose and mobile4 ,any stiffness or inflexibility will utterly spoil all efforts4 ,,single ,,and ,,double ,,shuffles ,having become familiar with the two taps with both feet1 attempts to use right and left alternately should be made1 the while standing upon the toes4 ,thus3 left forward and back1 two taps2 right forward and back1 two taps1 making in all four taps in rapid and even succession4 ,this is known as the single shuffle1 and it is surprising how many music hall artists and public performers know no more than this rudimentary movement4 ,yet it shows how necessary it is to be perfectly easy and familiar with the action1 which may be considered1 together with the double shuffle1 as the ground-work of the art4 ,the double shuffle is simply a duplication of the single shuffle4 ,each foot goes forward and backwards twice1 making four taps for the right and four for the left1 or eight taps in all4 ,this is really no harder than the single shuffle1 and must be learned as thoroughly4 ,indeed1 it is wise to practice no more steps until these two shuffles have been perfectly mastered4 ,having grown familiar with the steps already described1 it is time to learn some of the variations of the two shuffles4 ,begin with the single shuffle and ,variation ,no4 #a4--,stand upon the toes of both feet1 give one tap with the left toe1 and a single shuffle with the right foot4 ,then one tap with the right1 and a single shuffle with the left4 ,keep this up continuously1 and as clearly and rapidly as possible1 taking care that the beats are all equal1 and that no one tap is louder than any of the others4 ,the result will be a continuous roll1 like that of a drum1 and is very effective4 ,variation ,no4 #b4--;,give one tap with the left foot1 and a shuffle with the right1 as in the preceding step1 then hop on the left1 tap with the right1 shuffle with the left1 and hop on the right4 ,this makes eight taps in all1 and produces another continuous roll4 ,by pausing on the hop each time1 another step is apparently introduced1 and the smooth action is varied pleasantly4 ,the hopping mentioned above does not mean a skip into the air4 ,it is simply employed to give a tap1 and is more for the sake of appearance than for actual sound4 ,it can therefore be replaced by making a tap with the heel1 which is in itself a prominent feature in the ,clog ,dance4 ,indeed the tap from the heel is often preferable as being more characteristic and elegant than the hop1 which has to be done most gracefully to look at all well4 ,variation ,no4 #c4--,make one tap with the left toe1 shuffle with the right foot1 tap with the left heel1 and bring the right toe behind the left foot1 as in ,fig4 #c1 ,a and ,b4 ,illustration3 ,,fig4 #c4--,the third variation4 ,this must be learned carefully1 and repeated in the opposite way--that is1 tap on right toe1 shuffle with left foot1 tap with right heel1 and finish up by bringing the left toe behind the right foot4 ,illustration3 ,,fig4 #d4--,the fourth variation4 ,illustration3 ,,fig4 #e4--,the fifth variation4 ,practice both of these steps1 and introduce them1 one after the other1 in the actual performance4 ,variation ,no4 #d4--,make one tap with the left toe1 shuffle with right foot1 tap the right toe1 shuffle left foot1 tap with right heel1 and finish with the left toe behind the right foot1 as in ,variation ,no4 #c4 ,this should be learned and repeated in the reverse way to the former step1 and the two should be similarly combined to make one continuous action1 which is really elegant to watch4 ,variation ,no4 #e4--,make one tap with the left toe1 a shuffle with the right foot1 another tap with the right toe1 then a shuffle with the left foot1 a hop on the right toe1 finishing with a tap with the left toe either behind the right foot1 as in ,fig4 #d1 or in front of it1 as in ,fig4 #e4 ,learn to do this with the feet reversed as before4 ,if this step be done properly1 the result will be a continuous rattle1 which can be kept up indefinitely1 the repetitions and reversals following one another without break or pause of any kind4 ,,variations ,,of ,,double ,,shuffle ,these variations require no detailed description4 ,wherever in the above-mentioned changes the single shuffle is mentioned1 a double shuffle may be introduced4 ,for example1 in ,variation ,no4 #a1 for the double shuffle the instructions should read3 ,stand upon the toes of both feet2 give one tap with the left toe1 and a double shuffle with the right foot2 then one tap with the right1 and a double shuffle with the left4 ,by treating the other variations in a similar manner1 it will be seen that ten variations of the single and double shuffles can be obtained4 ,they should all be learned and practiced until there is not the least difficulty in performing any one or all of them4 ,,the ,,slide ,there now remains but the ,slide to be learned1 and as this is one of the prettiest of all the clog steps1 it is well worth taking pains properly to acquire4 ,illustration3 ,,fig4 #f4--,the slide 7first position74 ,illustration3 ,,fig4 #g4--,the slide 7second position74 ,illustration3 ,,fig4 #h4--,the slide 7third position74 ,stand as in ,fig4 #f1 throwing your weight on the left heel and right toe1 which are to be kept stationary4 ,now move the left toe and the right heel in the directions shown by the dotted lines4 ,your feet will then be in the position shown in ,fig4 #g4 ,keep the left toe and the right heel stationary1 and move the left heel and right toe in the direction indicated by the dotted lines in ,fig4 #h4 ,by continuing this movement you have a steady gliding action from left to right1 and1 reversing the steps1 you can1 of course1 move back from right to left4 ,this is really a hornpipe movement1 but for clog dancing it is very suitable for the introduction of taps with heels and toes at every change of position4 ,it is also possible to introduce shuffles during the movement1 but the plain taps are probably more effective and quite difficult enough to learn without the introduction of more complicated movements4 ,it is possible to dance in clogs to any time1 or even against time4 ,acquire the steps accurately and readily1 and the measure will take care of itself4 ,to practice the shuffles and their variations1 the easiest plan is to have sixteen bars of music of two-four time1 or even a verse of any song set to that time4 ,as the feet become nimble and the actions familiar1 you will be adept at dancing to any time or measure1 whilst with shuffle and tap your feet will twinkle in the most orthodox and poetic manner4 ,practice in the steps described will also enable you to invent movements for yourself1 such as jumping in the air1 striking the clogs together once or twice1 rattling the clogs together on the ground1 and numberless other side tricks and fancies4 ,the regular steps are generally considered the best1 however1 and should always be executed when possible1 as they form the essence and genius of the whole art4 ,clog dancing is tiring1 and it is advisable not to make the dance the central piece of an evening's entertainment4 ,it makes a good accompaniment or 8gag10 but is not suitable for a pice de rsistance4 ,adroitly performed it will win approval2 and what more can the home entertainer desire8 ,,chapter ,,xxxii ,,shadow ,,shows ,,hand ,,shadows ,,few of us have not lain in bed by candle-light and with more or less success cast shadows upon the wall4 ,some may have seen public entertainments in which shadow pictures formed an important part of the programme1 and have wondered in a dim kind of way how they were done4 ,from what follows it will be seen how very simple are the arrangements1 and how admirably adapted for a drawing-room entertainment a shadow theater can prove4 ,shadow shows may be divided into three kinds4 ,they are3-- #a4 ,hand ,shadows--in which the performer stands in view of his audience4 #b4 ,figure ,shadows--in which he stands behind a screen4 #c4 ,puppet ,shadow ,shows--in which the shadows of lay figures are exhibited4 ,of these three branches of the art1 ,hand ,shadows are distinctly the easiest to do1 but they do not give scope for great variety1 and although very good in their way1 like most good things1 are apt to pall upon an audience1 who1 it must ever be remembered1 have an insatiable taste for novelty and change4 ,a screen of white cloth about three feet square should be fastened to the wall and drawn taut1 so as to have no fold or crease4 ,a large sheet of perfectly smooth white paper will make an equally satisfactory background4 ,the best light for casting shadows is given by a candle1 which should not be lighted until a minute or so after the lights have been turned out4 ,this will have the effect of making its light appear all the more brilliant4 ,before attempting to give an exhibition of the various shadows1 exercise the fingers to make them pliable4 ,clench the fist and try to raise one finger without moving the others4 ,raise each finger in turn and they will soon become supple2 then you may commence learning to make the pictures4 ,the candle should be on a level with the hand1 and you must stand rather to one side of the screen1 in order that your body may not interfere with the view of the audience4 ,,how ,,to ,,make ,,the ,,pictures ,illustration3 ,,fig4 #a4--;,a rabbit4 ,illustration3 ,,fig4 #b4--;,a butterfly4 ,in ,fig4 #a you see the well-known rabbit1 usually the first shadow made by the amateur performer4 ,stretch the right thumb down and the forefinger up as far as it will go1 whilst the second and third fingers should be thrust out1 slightly bent1 as shown in the figure4 ,with the left hand crook the forefinger against the upright forefinger of the right hand1 bring the thumb to touch the last-mentioned finger1 making a little loop as depicted4 ,stick the second and third fingers of the left hand upright1 although slightly bent4 ,your two hands should now appear as in ,fig4 #a1 and the shadow they cast will be that of a rabbit4 ,the butterfly in ,fig4 #b is very easily made1 and needs little explanation4 ,extend the thumbs of both hands1 keeping the four fingers of each bunched together4 ,then cross your hands with the thumbs crooked in one another1 and the butterfly will be ready to flit on to the screen4 ,illustration3 ,,fig4 #c4--;,a swan4 ,to make the swan shown in ,fig4 #c1 both arms must be partly bared and the right one bent upwards from the elbow4 ,extend the third and fourth fingers horizontally1 bend the first and second loosely upon themselves and bring the thumb to rest naturally upon their tips4 ,hold the left hand easily at the crook of the elbow1 as shown in the figure1 and the swan is complete4 ,illustration3 ,,fig4 #d4--,the greyhound4 ,fig4 #d depicts a greyhound ready to sprint4 ,extend the right hand thumb and close the fingers together4 ,with the left hand bend the thumb outwards1 double the forefinger1 and bring the middle finger down to touch the first finger of the right hand4 ,illustration3 ,,fig4 #e4--,the hound panting4 ,illustration3 ,,fig4 #f4--;,a countryman4 ,illustration3 ,,fig4 #g4--;,a fireside friend4 ,by stretching down the last three fingers of the right hand1 as shown in ,fig4 #e1 the greyhound will be seen panting as he races along1 watched by the old countryman depicted in ,fig4 #f4 ,the familiar household pet is shown in ,fig4 #g as she sits warming herself by the fire4 ,figs4 #g;,a and #g;,b respectively suggest two other easily produced hand shadows1 in the former1 additional effect being lent by the pipe4 ,illustration3 ,,fig4 #g;,a4--,the costermonger4 ,when you have accustomed yourself to forming these figures quickly and accurately1 numberless other objects will present themselves to your mind1 and as the fingers grow supple the characters in your repertoire will become more and more numerous and amusing4 ,illustration3 ,,fig4 #g;,b4--,the parson4 ,a few racy remarks about each shadow lend an interest to the performance and serve to keep the spectators amused4 ,always be quite sure of what you are going to do and how you are going to do it2 arrange your fingers quickly and correctly2 do not keep the same figure upon the screen too long1 and you are sure to succeed4 ,a mistake is fatal1 as nothing is more dreary for the visitors than to watch you bungling with your fingers--uncertain how they should be placed4 ,,figure ,,shadows ,these are1 perhaps1 more entertaining than hand shadows1 but require much greater space1 it being necessary to arrange them somewhat after the manner of tableaux4 ,a white sheet must be drawn completely over one end of the room1 as ,s in ,fig4 #h1 whilst near the opposite wall three boxes of varying height should be arranged as ,a ,b ,c in that figure1 a candle being placed upon the middle one4 ,there should be no other light in the room1 upon either side of the screen4 ,illustration3 ,,fig4 #h4--;,arrangement of screen for figure shadows4 ,when the performer enters by the door ,d his shadow is thrown upon the screen in a natural size1 but as he retires from the screen and approaches the candle1 his shadow increases to enormous dimensions1 and very funny effects will be produced4 ,a couple of performers may have a fight1 the one near the candle apparently being of gigantic stature1 whilst the other close to the screen is of ordinary build4 ,with a little practice it can be so managed that the two figures1 although in reality at some distance from one another1 appear to come to blows1 and the incongruity of their respective statures makes the giant and dwarf fight of breathless excitement4 ,to add to the ridiculous situation1 the giant can be given a knockout blow by the dwarf4 ,a very small man can be made to make love to a huge woman1 vainly endeavoring to reach her face in order to imprint a kiss upon her colossal lips4 ,another amusing picture is to show a figure with a very swollen cheek4 ,this illusion is best produced by tying a ball of worsted to the face4 ,the dentist then approaches with a pair of large tongs in one hand and a carving knife in the other1 opening and closing the tongs with fierce relish4 ,grasping the patient firmly by the throat1 he extracts a large molar1 made of cardboard stuck between the worsted and the cheek4 ,then1 brandishing aloft the cause of his client's trouble1 he slices off the swollen part of the sufferer's features1 detaching the worsted1 and proudly exhibits patient and tooth to the audience4 ,,the ,,disappearing ,,man ,a surprising effect to be obtained in these figure shadows is the total disappearance through the ceiling of one of the actors4 ,this is very simply done by stepping upon the lowest box 7,c71 striding over 7,b7 which bears the candle1 and on to 7,a7 which makes the shadow appear to leap into the ceiling4 ,let a figure dressed as a policeman rush upon the scene1 hotly pursued by a sailor brandishing a stout stick4 ,the two chase each other about the stage for a time1 and presently the sailor shouts very fiercely1 8,get off the earth with you--get off60 and makes a savage rush at the policeman1 who1 casting one terrified glance over his shoulder1 steps over the candle1 and literally 8gets off the earth40 ,the sailor then bursts into a roar of laughter1 dances a hornpipe1 and retires4 ,during all these tableaux a running patter should be kept up1 which1 combined with the fantastic doings upon the screen1 cannot fail to keep the spectators in fits of laughter4 ,figure shadows are certainly the most amusing of any ,shadow ,shows1 and are so easily done that fear of failure need deter no one from undertaking them4 ,almost any play can be adapted to ,shadow ,shows2 nursery rhymes1 burlesques of well-known tragedies1 purely farcical buffoonery--none will come amiss so long as there is plenty of action1 whilst success is assured if all the actors concerned keep the ball rolling4 ,at the close of the entertainment1 when the last piece has been finished1 let one of the figures appear upon the screen and repeat-- 8,for in and out1 above1 about1 below1 ',tis nothing but a magic ,shadow ,show1 ,played in a box whose candle is the sun1 ,round which we phantom figures come and go40 ,this will please the grown-up members of your audience who have read ,omar ,khayym1 and will also serve as a suitable finale to the evening's entertainment4 ,having said his little verse1 the poet can then disappear into the ceiling4 ,,puppet ,,shadow ,,shows ,to work a ,puppet ,shadow ,show is more difficult than either of the preceding entertainments1 and requires considerable skill and ingenuity to present satisfactorily4 ,as the name implies1 the shadows in this case are cast upon the screen by lay figures1 and the performers1 of whom two are requisite1 do not appear at all4 ,the simplest way to make a 8stage0 upon which to exhibit your puppets is to stretch a strong piece of cord across the corner of a room1 and hang therefrom a sheet which shall reach from one wall to the other4 ,some people prefer to stretch it across an open doorway1 but this is largely a matter of convenience1 and is not always possible4 ,before fastening up the sheet mark upon it a rectangle1 as shown in ,fig4 #i1 the rectangle being five feet from the bottom1 two feet high1 and four feet wide4 ,illustration3 ,,fig4 #i4--;,diagram of screen for puppet show4 ,now take pieces of thick brown paper and tack them over the remaining portions of the sheet1 so that when completed it shall be entirely opaque1 except for the rectangle or stage upon which your figures are to perform4 ,the brown paper will1 of course1 be on the side hidden from the audience4 ,the next thing to be considered is the lamp1 which should have a tin reflector and a one-inch burner4 ,arrange it in such a manner that it shall hang in the center of the stage and some eighteen inches or two feet from the screen--indeed at just sufficient distance to allow you to manipulate your figures without coming into collision with the light4 ,if possible shut out all light except that which is thrown by the lamp upon the stage1 as the darker the room the more effective will be the appearance of the shadows4 ,take great care the sheet is so firmly fixed that it neither flaps nor creases4 ,having accomplished this1 turn to the making of the puppets4 ,the best material from which to manufacture them is thin zinc or tin1 waste scraps of which any tinsmith will gladly sell for a mere trifle4 ,with a pair of shears the metal can be readily cut to any shape1 whilst it will also be strong enough to bear the rivets for working the figures4 ,the puppets should be about six inches in height4 ,this is the best way to make them4 ,draw the figure selected upon a piece of fairly thin white paper1 taking care to accentuate all prominent points and features4 ,paste the figure--e4g4 a crossing-sweeper--upon a piece of tin1 and carefully cut the outline with the shears as in ,fig4 #aj4 ,illustration3 ,,fig4 #aj4--,partly finished figure of crossing-sweeper4 ,illustration3 ,,fig4 #aa4--;,constructing an arm and broom4 ,illustration3 ,,fig4 #ab4--,the figure complete4 ,of course the puppets must be as comical as you can imagine1 and should be neatly and accurately outlined4 ,notice that the figure has no arm1 as this must be movable1 and should be made separately1 thus3 draw the limb1 holding a broom as in ,fig4 #aa1 cutting it out in the same way as you have done the body4 ,illustration3 ,,fig4 #ac4--;,a bear4 ,now take a punch and make a hole in the body at the shoulder1 whilst two holes must also be made in the arm1 as at ,a and ,b in ,fig4 #aa4 ,get five cents' worth of quarter-inch iron rivets1 and place one in the hole ,b of the arm4 ,make a loop in a piece of ,no4 #i size wire and place it over this rivet in the arm4 ,next bend the rivet with a pair of pliers1 and fasten the wire as shown in ,fig4 #ab4 ,put a rivet through ,a in the corresponding holes in body and arm1 and bend the rivet head over as before4 ,your crossing-sweeper is now complete4 ,illustration3 ,,fig4 #ad4--,the elephant4 ,by pulling the wire1 which should run down one leg1 and thus be invisible to the spectators1 the arm can be raised or lowered from below1 and the figure will appear to be sweeping vigorously4 ,upon this plan every other puppet may be constructed1 making as many joints in a similar fashion as are required4 ,illustration3 ,,fig4 #ae4--;,a crocodile4 ,fig4 #ac shows how to make a bear1 which can rear upon his hind legs and also open his mouth4 ,he will serve as an example for making all animals such as the elephant 7,fig4 #ad71 or the crocodile 7,fig4 #ae74 ,set pieces such as a church or a house can be easily constructed from cardboard1 as in ,fig4 #af1 whilst a very good effect can be obtained from a windmill with movable sails 7,fig4 #ag74 ,it is scarcely necessary to add that the puppets needed depend entirely upon the piece you desire to represent4 ,illustration3 ,,fig4 #af4--;,a house4 ,illustration3 ,,fig4 #ag4--,windmill with movable sails4 ,supposing it is your intention to exhibit three separate plays in the course of the entertainment1 three different sets of figures will be required4 ,the younger members of an audience are quick to observe any repetition4 ,the figures are made so easily and cheaply that it will be quite as well to have a complete set for each play4 ,,manipulating ,,the ,,puppets ,the following hints should be borne in mind when manipulating the puppets4 ,keep all the figures ready for immediate use2 lay them upon a table in the order in which they will be required1 and remember where they are so that you can put your hand upon them the moment they are wanted4 ,keep your own head and fingers well out of sight--the whole effect will be spoiled if the spectators see a great black finger pulling some wire or adjusting a refractory limb4 ,keep as calm and collected as possible4 ,if some part of a figure sticks and refuses to move1 tell the audience1 in an amusing piece of patter1 that ,jim1 or whatever his name may be1 has had a sudden stroke of paralysis1 and must be carried away to the hospital4 ,when there is a hitch--and this will occur even with a professional--pass it off with a rattle of bantering fun1 making the audience imagine it to be part of the show4 ,as the puppets are made from thin metal be careful never to turn them round upon the stage4 ,march the figures off the scene with some quaint excuse1 and introduce them again facing in the direction you desire4 ,it is impossible to lay too much stress upon the absolute necessity for the showman's being ready with all kinds of patter4 ,funny as the scenes may be made with the figures alone1 they are quite unentertaining unless all their doings can be explained with an unceasing tongue4 ,from the moment your first figure appears upon the scene1 until the last one has made its exit1 a continuous flow of amusing dialogue and comment should keep the audience on tenter-hooks of surprise and excitement--shrieking with laughter over absurd remarks or in an agony of wonder as to what will happen next4 ,dull and stupid as patter may appear upon paper1 it should certainly be written down and well studied before beginning the show1 for impromptu fun cannot be relied upon4 ,a lot of extempore humor can be introduced when you yourself have entered into the spirit of the show--but it is imperative that regular patter should be learned by heart4 ,nothing can be more tiresome than a halting conversation of which one party has forgotten the cues1 whilst the other cannot remember the lines4 ,if you can sing1 intersperse a song or two here and there when there seems a suitable occasion1 but be rather sparing than otherwise with your music4 ,it may also be borne in mind that it is not necessary to have dialogue the whole time4 ,a clever and amusing description of what is being done often proves better than a lengthy conversation in which the characters explain themselves4 ,a few crisp remarks are worth a bookful of such speeches4 ,however1 when you are once fairly embarked on the play1 let your puppets joke and abuse one another as much as they like4 ,to conclude with a few words as to what is suitable for the ,puppet ,shadow ,theater4 ,the great object of every entertainment is to be funny without introducing vulgarity4 ,the nature of the show necessitates fairly short pieces1 and experience has proved that several short and amusing plays are more appreciated than one long piece1 during the performance of which interest is sure to flag4 ,choose commonplace incidents of everyday life4 ,an inventive mind will soon adapt the ridiculous side of things to a screamingly funny show4 ,do not attempt too much4 ,with a smart patter1 full of current expressions and allusions to topics of the time1 preferably local1 which all your audience can appreciate1 the most casual events become laughable4 ,take1 for instance1 the well-known family trouble-- ,,the ,,plumber ,figures4 ,mrs4 ,,hoggins4 ,mr4 ,,plapper4 ,,jim1 the ,plumber4 ,,robert1 the ,policeman4 ,,bridget1 the ,maid4 ,with these five characters and a suitable amount of talking an amusing sketch can be given4 ,the following is a mild suggestion of what can be done1 but you will find that it can be made very much funnier when actually performed4 ,,scene1 a ,house 7,fig4 #af74 ,mrs4 ,hoggins emerges1 loudly complaining that a pipe has burst and spoiled her nice new carpet4 ,she blames everybody in the neighborhood1 not omitting ,mr4 ,hoggins1 who is in town4 8,just like a man3 never here when he is wanted40 ,she calls ,bridget1 and tells her to run for the plumber4 ,bridget seems unable to understand4 8,sure1 ,mum1 and the grocer came this mornin' and ye didn't want any fruit60 ,mrs4 ,hoggins then explains matters with considerable volubility1 and ,bridget departs4 ,mr4 ,plapper rushes out1 waving his arm1 and complaining that his house will be ruined by the overflowing water4 ,the drawing-room ceiling has already come down4 ,he sees ,mrs4 ,hoggins1 and asks her heatedly what she means by it4 ,that lady replies suitably1 and they wrangle until the plumber comes1 when ,mr4 ,plapper retires with a few sarcastic remarks4 ,jim1 the plumber1 listens to ,mrs4 ,hoggins' explanation1 and disappears into the house to see what he can do1 only to reappear in a moment1 remarking that he must go home to fetch his hammer4 ,he accordingly leaves the stage4 ,mr4 ,plapper returns with a policeman1 relating matters so excitedly that ,robert is not quite sure whether it is a case of fire or merely a murder4 ,he enters the house1 and ,plapper abuses the plumber1 who1 returning at this moment1 thoroughly enters into the spirit of the fray4 ,he also goes into the house1 but comes out immediately1 having suddenly remembered that it is time to go to dinner4 ,mrs4 ,hoggins appears upon the scene once more1 and encounters ,plapper1 who asks3 8,well1 ,ma'am1 and what have you done about it80 8,done8 ,if you would do something1 instead of standing there talking like a monkey1 perhaps we should know where we are40 ,in an interval of the conversation a loud sound of kissing is heard1 and ,mrs4 ,hoggins demands what it is4 8,water oozing through my ceiling10 says ,plapper4 ,mrs4 ,hoggins laughs satirically and retires4 ,she apparently finds ,robert making love to ,bridget1 for he suddenly appears running out of the house very hurriedly1 followed by the fiery remarks of ,mrs4 ,hoggins4 ,he is making a few rejoinders when ,jim1 the plumber1 returns just in time to say that his wife is expecting him home to afternoon tea4 ,a general chorus of excited abuse is then heard1 in which ,mr4 ,plapper joins from the background4 ,so ,jim walks away1 saying that he will cut all the water off1 leaving them nothing to drink1 let alone wash in1 until next day4 ,this may seem very poor fun1 but when staged and supplemented with good strong patter it should be most amusing4 ,opportunities always arise for introducing smart remarks and witty rejoinders1 which cannot fail to 8bring the house down40 ,complete sets of figures1 with the various plays for which they are intended1 can be purchased from all good shops making a specialty of entertainment requisites1 but it is more interesting to make everything for oneself2 and the prospective shadow showman may feel assured that1 with care and patience1 he will be able to give a performance that1 costing but a dollar or two1 will prove quite as entertaining as one purchased at many times the sum4 ,,chapter ,,xxxiii ,,lightning ,,cartoons ,,and 8,,fake0 ,,sketching ,a ,,novel ,,form ,,of ,,drawing-,,room ,,entertainment ,,an exhibition of skill which cannot fail to win appreciation from any audience1 particularly one composed largely of grown-ups1 is that of making lightning cartoons and sketches4 ,it is1 however1 a form of entertainment which should be undertaken only by those possessing some artistic qualifications4 ,although lightning cartoons do not call for any great genius1 yet those with an inherent taste for caricaturing will find themselves the best exponents of the work4 ,on the other hand1 the task may be undertaken by any youth with even a moderate knowledge of drawing1 because by the observation of the few rules hereafter indicated1 quite passable and pleasing results may be obtained4 ,the apparatus required is simple and easy to procure4 ,the first essential is a cheap easel1 which can be purchased for fifty cents from any art store4 ,to give it a presentable appearance for a drawing-room entertainment1 it should be stained with any oak or mahogany composition4 ,those who possess a bent for carpentering will perhaps prefer to make their own easel4 ,it can be made from #b inch battening4 ,first cut two pieces to the required height1 and glue or mortise together with two stays1 ,a and ,b 7,fig4 #a74 ,drill holes for the reception of pegs at ,,cc4 ,a further length1 ,d1 will also be needed for the back stay1 hinged at ,e4 ,f shows a section of the hinging4 ,illustration3 ,,fig4 #a4--;,easel for lightning cartoons4 ,the next requisite is a large drawing-board4 ,half-a-dozen large sheets of cheap cartridge paper should also be procured4 ,these latter may be fixed to the drawing-board by nails driven firmly into the top right- and left-hand corners in such a manner that each sheet can easily be removed after it has been drawn upon4 ,the media employed for plain black-and-white drawings are thick sticks of charcoal or soft crayon4 ,it should be borne in mind that as lightning sketching permits of no erasures1 each subject must be thoroughly committed to memory before a public demonstration on the paper is attempted4 ,the best subjects for a beginner to attempt in black chalk or crayon are caricatures of celebrities1 those selected all possessing some particularly marked or prominent feature1 e4g4 the late ,mr4 ,gladstone1 with his remarkable forehead1 striking nose1 and the characteristic high collar4 ,idiosyncrasies of well-known people should also be seized upon2 for instance1 the eyeglass and orchid so universally associated with ,mr4 ,joseph ,chamberlain4 ,it will be found that if these peculiarities are properly portrayed and accentuated1 but very few strokes of the crayon will suffice to produce an unmistakable likeness4 ,the budding cartoonist should also bear in mind that boldness of execution is essential1 the strokes being put to paper with free and large sweeps of the hand4 ,the subjects intended to be drawn must be selected beforehand1 the order of their appearance also being prearranged4 ,to obtain the correct mental picture of each character or subject1 it is at first recommended to attempt only heads4 ,let the young cartoonist first procure a pronouncedly good photograph1 in profile preferably1 and copy this in detail1 gradually omitting half tones or shadings until the likeness is apparent when only the minimum of strokes is used4 ,as soon as the ability to do this has been thoroughly acquired1 the outlines should be drawn again and again until the hand has become so accustomed to the correct presentation of the portrait that it can draw it off in a second or two4 ,the lightning cartoonist must live up to his reputation for speed4 ,illustration3 ,,fig4 #b4--,method of drawing in leading characteristics4 ,illustration3 ,,fig4 #c4--;,complete cartoon4 ,illustration3 ,,fig4 #d4--,showing characteristic features drawn in first4 ,illustration3 ,,fig4 #e4--,the final stage4 ,now1 to treat with the order in which the various features and leading characteristics are to be drawn in4 ,a start is generally made with the curve above the nose1 taking the stroke down and round to the nostril 7,a1 in ,fig4 #b72 then the upper lip1 mouth1 and chin 7,b71 if possible1 without breaking the line4 ,next take the chalk and draw the crown of head and curve of forehead1 beginning at the right-hand top of head1 presuming the face to be in profile to the left4 ,with a sweeping stroke draw in either the outline of the hair or bald head1 coming back to the forehead and finishing at the point from which the start was made 7,c1 ,fig4 #b74 ,now1 leaving the outline of the face1 return to the point at which the curve for the hair or head was started1 and bring round another bold sweep down into the nape of the neck 7,a1 ,fig4 #c74 ,shading may be put in according to judgment4 ,the eye must next receive attention1 afterwards the ear1 and1 lastly1 the collar or any other distinguishing mark4 ,,simultaneous ,,drawing ,a welcome variation to the above is produced by a brief exhibition of simultaneous drawing with both hands4 ,the best method of procedure is to take a piece of chalk in each hand1 and1 bringing them together in the middle of the top of the drawing 7,a1 in ,fig4 #f71 take each hand round and down1 the right hand drawing the profile1 the left the back of the head1 and so complete the picture by working off the lines respectively on the right side with collar and tie1 and on the left with the neck and back of coat4 ,in ,fig4 #f the dots show the other lines necessary to complete the effect4 ,illustration3 ,,fig4 #f4--,simultaneous drawing with both hands4 ,a ,,figured ,,face ,another diversion may be caused by drawing at lightning speed a figured face4 ,how this is to be accomplished is not at first apparent when you sketch in to all intents and purposes at random a few detached numerals1 such as appear in ,fig4 #g2 but the addition of extra figures produces the very expressive countenance depicted in ,fig4 #h4 ,illustration3 ,,fig4 #g4--;,figured face partly finished4 ,illustration3 ,,fig4 #h4--;,figured face complete4 ,a deal of fun may also be extracted from outline representations of an egg4 ,commence by sketching in with quick strokes three or four of these4 ,fill in the individual expression of each by such series of lines as are suggested in ,figs4 #i and #aj1 and as a climax pin to each a suitable paper costume or fancy collar1 frill1 or tie1 as shown in ,figs4 #aa and #ab4 ,these latter aids to the equipment of the lightning cartoonist must be prepared beforehand from colored tissue paper1 kept behind the easel1 and instantaneously fixed on to the large sheet of cartridge paper by means of pins4 ,the effect will be both novel and grotesque4 ,illustration3 ,,fig4 #i4--;,a cheerful 8eggspression40 ,illustration3 ,,fig4 #aj4--;,a mournful 8eggspression40 ,illustration3 ,,fig4 #aa4--;,egg drawing complete4 ,illustration3 ,,fig4 #ab4--;,egg drawing complete4 ,,smoke ,,pictures ,to produce wonderfully picturesque and striking examples of land and seascapes in the space of a few moments of time appears at first sight a task almost beyond the capabilities of the amateur draughtsman4 ,yet such effective additions may be made to the programme of the lightning cartoonist by his following out the subjoined simple instructions4 ,first procure a large sheet of iron or tin1 enameled white4 ,to purchase this in a prepared state is rather expensive1 but a very fair substitute can be made by coating the tin or iron with ordinary white enamel4 ,smoke the enamel surface to a uniform blackness by passing it backwards and forwards over an ordinary small hand-lamp1 the glass chimney of which has been removed4 ,fix the black sheet to the easel1 either resting it on a wooden rack or across the pegs4 ,illustration3 ,,fig4 #ac4--,sketch to memorize for smoke picture4 ,illustration3 ,,fig4 #ad4--;,completed smoke picture4 ,before commencing on the actual drawing1 memorize a suitable subject1 such as a stretch of water gleaming under the moon1 with light reflections1 as in ,fig4 #ac4 ,the effect of the finished picture may now be obtained by wiping out the black so that the white enamel shows through and forms the lights4 ,the removal of the black may be accomplished either with the fingers or by means of a soft piece of rag4 ,in view of the fact that the fingers form a better medium for drawing than does the rag the use of the former is recommended1 but as the cartoonist may have arranged to follow this part of his entertainment with other drawings on white paper1 he would do well1 while dealing with the smoked surface to cover his finger-tips with stalls cut from old kid gloves4 ,these can be discarded without the necessity for a break in the performance1 as would be the case were the fingers blackened in the process4 ,fig4 #ad shows the finished smoke picture produced from the sketch in ,fig4 #ac4 ,illustration3 ,a4 ,blue4 ,b4 ,brown4 ,c4 ,green4 ,d4 ,dark green4 ,,fig4 #ae4--;,a reversible scene4 ,illustration3 ,,fig4 #af4--;,initial sketch for 8house on the cliff0 drawing4 ,,topsy-,,turveydom ,yet another variation in lightning cartooning is provided by the ability of the artist to produce pictures which1 when turned upside down1 show exactly the same view4 ,these are best done in colored chalk or pastel1 which is a softer medium and more workable4 ,landscapes are peculiarly adaptable to this purpose4 ,fig4 #ae suggests a realistic example4 ,illustration3 ,,fig4 #ag4--;,house on cliff drawing completed4 ,yet a further pleasing addition to the entertainment may be made by sketching such a scene as ,fig4 #af suggests1 afterwards over-coloring with white the part representing the sea1 and also the jutting rock marked ,a up to the dotted line2 then turning the whole picture on end1 blacking in on the whitened portion windows and doors1 as shown in ,fig4 #ag4 ,the result will be 8,the ,house on the ,cliff40 ,,shadow ,,drawings ,a very interesting entertainment is to be brought to a close by a short exhibition of shadow drawing4 ,the apparatus required is a magic lantern1 before the lens of which is fixed a prepared plate consisting of glass previously covered with a coating of lamp-black and water4 ,a sheet of calico should be attached1 some distance away1 to the wall4 ,between the plate and the lantern1 and a little to one side1 stands the operator1 who with the aid of a stick or stump sketches the subject upon the plate1 the light filtering through throwing an enlarged presentment of the picture upon the calico screen4 ,,chapter ,,xxxiv ,,frictional ,,fun ,,some ,,amusing ,,electrical ,,experiments#a ,,electricity may be said to have a finger in most pies4 ,from its manifestations it would appear to be an all-pervading force1 and modern research tends always to substantiate this conclusion4 ,thus two coins--a cent and a quarter--cannot be brought into contact without producing their quotum of electrical force1 and in like manner the principles of its working may often be demonstrated by the simplest apparatus4 ,there are two states which this subtle force assumes1 called ,static and ,dynamic4 ,the former word indicates a condition of rest1 and is applied to electricity when stored in suitable magazines ready for discharge at a favorable opportunity1 just as water may be held in lofty reservoirs1 ready to pour down and perform work--whether useful or otherwise--if the pipes be opened4 ,dynamic1 on the other hand1 indicates a state of motion2 so that ,dynamic ,electricity means that it is flowing along conductors from one place1 where there is a large quantity of the force1 to another less powerful1 in the same way as--again using the comparison with water--the latter pours along connecting pipes from a high level to a lower4 ,phenomena of static electricity are invariably produced by friction1 and some experiments of this class will be first described4 ,the chief element of success in friction electrical experiments is a warm and dry atmosphere4 ,the operations should therefore be conducted in a well-ventilated room where the fire has been burning some time1 whilst all apparatus may with advantage have stood warming for some time before4 #a4 ,rub a #f-;inch square of brown paper with a warm silk handkerchief1 then place flat against the wall or marble fireplace4 ,it should cleave tightly to either of the latter surfaces4 #b4 ,again electrify the brown paper and hold it above any willing person's head of hair4 ,the locks will fly up towards the paper and appear like bristles4 ,you may then make sure of a safe retreat1 and utter side remarks about 8wire40 #c4 ,sprint smartly after the cat1 which1 like the other apparatus1 should have been warming itself on the hearthrug1 and having effected a capture1 stroke the fur backwards4 ,if the hand be not moist1 considerable sparking should occur and be easily visible in a darkened room4 #d4 ,by combing dry hair quickly with a warm ebonite comb1 and then applying this to the knuckles1 distinct sparks may often be obtained4 #e4 ,cut a piece of paper into small confetti1 and place near it a stick of sealing-wax or ebonite rod1 which has been rubbed with flannel4 ,the paper atoms are attracted to the rod through a distance of one inch or more1 and then1 contact having once occurred1 they immediately drop off4 #f4 ,in the previous experiment it was found that the paper atoms having once touched the rod1 dropped off directly4 ,this behavior was caused by a sequence of happenings4 ,first the negatively excited sealing-wax caused positive charges to possess the upper surface of the paper--the equal negative charges being driven downwards--so that1 the two kinds of electric energy having a mutual affinity1 the paper sprang towards the wax4 ,immediately they touched1 however1 the positive charges of the paper were neutralized by the large excess of negative energy from the sealing-wax1 and then1 since electricities of like sign exercise mutual repulsion1 the negative paper was driven from the negative wax4 ,now this repulsion of similarly charged particles is demonstrable by a straightforward experiment1 whose simplicity of description is in nowise proportionate to its entertainment4 ,in truth1 it consists merely of blowing a soap-bubble and catching it upon an excited stick of glass or wax4 ,the bubble becomes electrified1 its myriads of particles repel one another1 and the beautiful globe expands in size1 possibly to breaking point4 #g4 ,scratch any design or word upon a small sheet of indiarubber--such as is used in the manufacture of mats--and then dust over the surface a thoroughly-shaken mixture of red-lead and sulphur4 ,when all excess of the powder has been blown away1 the design should appear in grains of red-lead1 showing to excellent effect on the gray rubber ground4 #h4 ,by the following method a spark of sufficient intensity to light house gas may be obtained from brown paper4 ,support a salver on four well-dried inverted tumblers1 placing a rubber ring between the tray and each glass1 and twist a copper wire round a spoon which rests on the tray4 ,the other end of this wire must be held--insulated from the fingers by a piece of indiarubber or by the ordinary covering of the wire--just over the gas-jet1 whilst about -inch away is held another piece in metallic connection with the hand2 that is1 in reality1 via the operator's body with the earth4 ,now1 if the gas be turned on slightly and a piece of warm brown paper1 electrified by stroking vigorously with a dry brush1 be placed on the salver1 a spark should pass across the -inch gap and ignite the escaping gas4 ,if the spark does not pass at once1 approach the wire extremities slightly closer together4 ,illustration3 ,,fig4 #a4--,raising paper by touching wooden lath with electrified sealing-wax4 #i4 ,the following experiment owes its origin to ,gray--an early worker in the field of static electricity3 ,erect two dry tumblers with a piece of waxed cardboard between1 after the fashion shown in ,fig4 #a1 and lay a lath on the top glass4 ,beneath one end of the lath spread small pieces of paper1 over an ebonite or wood surface supported on another inverted glass4 ,then if a stick of sealing-wax1 which has been vigorously rubbed with flannel1 be approached to the other end of the lath1 the particles of paper will fly backwards and forwards between the lath and the ebonite surface--on which they would normally rest4 #aj4 ,a simple trick1 but one nevertheless causing considerable amusement to spectators1 may be arranged in the following manner3 ,bore a hole carefully at the middle of a wooden meat skewer 7,a1 ,fig4 #b71 of such size as to take a bone knitting-needle tightly 7,b1 ,fig4 #b74 ,sharpen the blunt end of the skewer and mount it so as to turn easily between bearings erected on inverted wine-glasses4 ,these may consist of two wood blocks 7,c1 ,fig4 #b71 in each of which a shallow conical hole is made to receive the points of the skewer4 ,on these stand weights 7,e1 ,fig4 #b7 to keep wood-bearings firm4 ,when this is in position and swings easily1 adjust the needle until it balances exactly4 ,it should be at right angles to the skewer1 and may be fixed in position1 if necessary1 with glue or sealing-wax4 ,illustration3 ,,fig4 #b4--,the balanced disc4 ,now cut two discs of white paper 7,d1 ,fig4 #b7 of a diameter about #a inch less than the knitting-needle's length1 and1 having printed across one the word 8,,done0 in large type1 glue them--centers at the point where the needle and skewer intersect--on either side of this cross4 ,erect the apparatus as shown1 so that the needle stands vertical1 with the blank paper disc facing the audience1 and then invite the latter to see if they can effect a movement without either touching or blowing the disc or creating any disturbance whatever4 ,the conditions should preclude any person1 except the canny operator1 from attaining success4 ,he1 however1 innocently takes a postcard 7previously warmed and dried71 tears it sharply in half1 and presents one ragged edge to the projecting bone needle4 ,the cardboard became electrified by tearing1 and should exercise quite enough attraction on the needle to upset its nice balance1 whereupon the other disc becomes visible1 together with its notice 8,,done40 ,the audience may take the ambiguous meaning according to their pleasure4 ,few further experiments can be performed without the use of special apparatus4 ,so far1 we have dealt only with the most minute quantities of electricity1 and if more striking effects are to be produced1 our stores of energy must be increased4 ,fortunately instruments of a fairly wide application may be rudely constructed at home1 although1 naturally1 results must not be looked for comparable to those obtained with perfected apparatus4 ,however1 brief directions now follow for the manufacture of such simple instruments1 and so1 as commencement1 let us appropriate two #c-lb4 jam pots from which ,leyden jars are to be evolved4 ,illustration3 ,,fig4 #c4--,leyden jar4 ,,leyden ,,jars ,procure as much metal foil as possible1 either by raiding the nursery or by purchasing some tinfoil-wrapped butter scotch at the confectioner's1 and gum it round the jam jars so as to extend about half-way up the outside 7,a1 ,fig4 #c74 ,next solder stiff brass wires 7#h inches long7 to two round pieces of metal1 so cut as to pass the jar mouths readily4 ,to the other end of one brass rod solder another disc of metal1 tin--or1 better1 brass--nicely smoothed along its two edges by sandpaper4 ,the other brass rod may be looped at its end and have tinfoil wrapped round until a respectable knob be formed1 or else have a brass bedstead globe soldered on4 ,illustration3 ,,fig4 #d4--,the electroscope4 ,these brass standards are then stood inside1 with their metal bases resting on the bottom of the jars and surrounded by lead shot to the same height as that of the tinfoil1 without4 ,the finished article should appear something like the sketch shown as ,fig4 #c4 ,,gold ,,leaf ,,electroscope ,illustration3 ,,fig4 #e4--;,electroscope parts4 ,obtain a square glass pickle or preserve jar1 to the mouth of which has been fitted a large cork bung 7,a1 ,fig4 #d74 ,next take a #g-;inch length of -inch brass wire 7,b1 ,fig4 #d7 7similar to that used for the ,leyden jars above71 and flatten one end by hammering 7,f1 ,fig4 #e71 after having bent it triangular-shape1 as in 7,c1 ,fig4 #d74 ,a #b inch length of cycle valve-tubing 7,a1 ,fig4 #e7 is to be slipped over the brass rod ,b 7,fig4 #e71 and then strips of gummed brown paper1 #b inches wide1 lapped round and round the rubber-tubing until a paper cylinder some -inch across the outside is formed 7,c1 ,fig4 #e74 ,anyway1 this paper cylinder must be a good fit for a hole bored through the center of cork 7,d1 ,fig4 #e71 into which1 moreover1 it must be glued when dry4 ,the stopper1 paper1 c41 must then be allowed to soak in hot candle wax for an hour or so1 wiped clean and put aside to cool4 ,excess of grease must be particularly removed--with paraffin if necessary--from the plain end of the metal rod1 to which we must next solder a brass knob 7,d1 ,fig4 #d7 or1 as an alternative1 tinfoil may be twisted round a loop in the wire until a ball is formed1 as in the case of the ,leyden jar4 ,the next operation is to cut two strips of ,dutch metal--or1 better1 gold leaf--size -inch by #b inches1 and gum them on either side of the flattened brass rod triangle 7,e1 ,figs4 #d and #e74 ,this is best managed by laying the brass1 after being lightly gummed1 upon the ,dutch metal strips in the correct position1 and when fixed trimming off the corners of the leaves close to the sides of the triangle--not1 of course1 at the base1 or no strips will remain to hang down4 ,dutch metal and beaten gold are both employed in gilding1 and should be obtainable in small quantities at any picture-framer's shop4 ,if the cork be now fixed in the mouth of the jar and the brass rod adjusted so that the gold leaves hang free of the interior1 our electroscope is practically complete4 ,however1 a few pieces of calcium chloride1 or pumice stone soaked in strong sulphuric acid1 may be included at the bottom of the jar 7,f1 ,fig4 #d71 in order to absorb moisture2 and lastly1 as a brass ball is not always the most satisfactory terminal for this instrument1 one other small accessory may be made4 ,this consists of a #b-;inch circle of tin1 or1 preferably1 brass 7,g1 ,fig4 #d71 exactly like that fitted to one of the ,leyden jars1 and to the under side of which is soldered a ring of springy brass 7,h1 ,fig4 #d7 about -inch deep1 so made as to fit securely on the brass ball terminal4 ,thus the metal table is adaptable to the brass knob1 whenever such an arrangement is required4 ,illustration3 ,,fig4 #f4--,the electrophorus4 ,,electrophorus ,our ,leyden jars have been constructed to store electrical energy1 and the gold leaf electroscope to indicate its presence4 ,but we do not yet possess the means of producing this energy in any considerable quantity4 ,to make an instrument for this purpose proceed as follows3 ,clean the inner surface of a circular tin lid--diameter #f inches or #g inches1 and about -inch deep--7,a1 ,fig4 #f71 and in the center stand upright on its head a brass screw1 whose point has been filed down until it nearly reaches to the level of the upper edge of the lid 7,b1 ,fig4 #f74 ,then carefully pour in melted lead or zinc to a depth of -inch4 ,this process is not absolutely necessary1 but is advisable if the metal be available and the extra trouble is not distasteful4 ,when this metal has thoroughly cooled1 melt up sufficient rough resin to just overflow the tin1 pour it in and allow to solidify properly without the least disturbance 7,d1 ,fig4 #f74 ,for the upper part of the electrophorus1 take a disc of tin or brass1 absolutely flat1 and of the same diameter as the resin surface 7,e1 ,fig4 #f74 ,in the center of its upper side solder a short piece of brass tube 7,f1 ,fig4 #f71 the correct internal width to fit tightly on a #ab-;inch length of polished wood rod1 cut1 say1 from a walking-stick 7,g1 ,fig4 #f74 ,the drawing shows the general arrangement of this electrophorus1 wherewith1 by the help of a piece of fur1 electricity may be generated4 ,a small cavity must be made in the resin1 just above the screw 7,h1 ,fig4 #f71 so that the point of the latter may be clearly seen4 ,illustration3 ,,fig4 #g4--,the discharger4 ,,discharger ,one last piece of apparatus--the simplest in construction--remains to be made4 ,bend a piece of stout brass wire into a semicircle 7,a1 ,fig4 #g72 then1 having flattened it at the middle1 pass through a hole at the end of a wooden handle 7,b1 ,fig4 #g71 and fix in position by means of a tiny glued wedge 7,c1 ,fig4 #g74 ,next twist the rod at both ends into loops1 and wrap tinfoil round so as to form metal knobs 7,d1 ,fig4 #g74 ,brass balls may be used instead4 ,this arrangement is now complete1 and we may commence experimenting4 #aa4 ,twist a stout piece of copper wire surmounted by a brass or tinfoil ball round the outside coating of a ,leyden jar 7,a1 ,fig4 #h71 so that the two knobs are about #c inches apart4 ,suspend a pith ball 7,b1 ,fig4 #h71 made from dried wood pith1 by silk thread 7,c1 ,fig4 #h7 from some support above1 so that it hangs normally midway between the two knobs4 ,next excite the resin surface of the electrophorus by rubbing with a dry rabbit's fur1 muff1 or flannel2 and1 holding the cover of this instrument by the handle's extreme end1 place it upon the resin4 ,remove immediately and bring near to the knob1 which connects with the interior of the ,leyden condenser1 at the same time touching its outer tinfoil surface with the finger4 ,a spark should pass between the electrophorus cover and the ,leyden jar1 whereupon1 if the former and finger be removed1 and the pith ball allowed to drop into position1 this will oscillate violently to and fro between the knobs4 ,illustration3 ,,fig4 #h4--,oscillating pith ball4 ,illustration3 ,,fig4 #i4--,sparks from discharger and ,leyden jar4 #ab4 ,construct a ,leyden jar with knob terminal similar to that previously described1 but cover part way up the outside with gold paint 7,a1 ,fig4 #i71 instead of tinfoil4 ,charge this condenser by means of the electrophorus cover1 as described in experiment #aa1 and if sufficient induction does not take place with one contact1 replace the metal disc on the resin and pass a spark to the ,leyden condenser knob several times1 taking care to touch the gold paint coating with the finger on each occasion4 ,if now the semicircular discharger1 held by the wood handle1 be brought so that one knob touches that of the ,leyden condenser whilst the other moves over the gold-paint surface1 long series of sparks1 differing greatly in appearance from any previously produced1 will pass between the gilt and the discharger4 #ac4 ,excite a stick of sealing-wax by rubbing with flannel1 and bring it against a pith ball suspended by silk4 ,the sealing-wax was negatively charged1 and the pith ball is now in a like condition4 ,to prove this1 approach the flannel which excited the wax1 and had consequently acquired a positive charge2 inasmuch as the pith ball is immediately attracted and we know that positively excited bodies have an affinity for those negatively affected1 the pith ball must be of the latter character4 ,if1 further1 a glass rod be excited by rubbing with silk and brought near to the negative pith ball1 the latter will again be attracted1 showing the glass to be positively charged4 ,on the other hand1 the silk rubber repels a pith ball which has been in contact with excited sealing-wax1 in the same way as it will repel the latter substance itself if suspended freely1 thus indicating that the silk is similarly1 i4e4 negatively charged4 ,the phenomenon of positive and negative electricity may be somewhat differently demonstrated by means of the electroscope4 ,touch the terminal of this instrument with rubbed sealing-wax4 ,the gold leaves diverge4 ,moreover1 they may be thrown farther asunder by bringing the electrophorus resin near1 so that evidently the charge of this instrument is also negative4 ,perhaps as a diversion it may be noted that resin is one of the chief ingredients of sealing-wax4 ,the electroscope leaves remain apart even when the electrified body has been removed1 but they may be made to collapse by touching the knob with the finger or bringing an excited glass rod near4 ,the former action 8earths0 7i4e4 connects1 via the person's body1 with the house walls and the earth7 the gold leaves and allows the electrical charge to escape1 whilst the latter operation counteracts the negative charge by virtue of the positively excited glass4 #ad4 ,if the electrophorus and electroscope be placed as shown in ,fig4 #aj1 the gold leaves being already held asunder by a negative charge from sealing-wax1 and the cover of the first instrument be lifted1 whilst a strip of cardboard bridges from its upper surface to the disc terminal of the electroscope 7,a1 ,fig4 #aj71 the instrument's leaves will fall together again4 ,from this behavior it may be gathered that the charge on the upper surface of the electrophorus cover is positive1 or opposite in character to that induced by rubbing on the resin cake4 ,illustration3 ,,fig4 #aj4--;,an experiment with the electrophorus and electroscope4 #ae4 ,stand a charged ,leyden jar and the electroscope close together on the table4 ,they must not be so near1 however1 that the gold leaves are affected by the condenser's presence4 ,if1 now1 a few pieces of sulphur1 spread upon the ,leyden jar's disc terminal1 be ignited so as to burn freely1 the gold leaves will immediately diverge slightly1 indicating that part of the electric charge1 which is being rapidly dissipated by way of the flame into the atmosphere1 has traced a path to the electroscope4 ,illustration3 ,,fig4 #aa4--,the swinging mannikin4 #af4 ,an amusing variation of experiment #aa1 wherein a pith ball was rendered restless between the two terminals of a ,leyden condenser1 is constituted by carefully modeling a little seated figure out of pith and sealing-wax4 ,the mannikin is threaded on a silk strand1 so that the legs hang down as though seated on a swing1 and is then suspended by tying the two silk ends to a support above4 ,fig4 #aa indicates the arrangements4 ,two ,leyden jars are next required1 of opposite influences4 ,to effect this1 charge one by the ordinary method of touching its terminal several times with an electrophorus cover1 being careful on each occasion to 8earth0 the outer surface1 whilst the other condenser is charged by presenting its outer surface to the electrophorus cover1 and each time touching the knob terminal with the finger1 i4e4 8earthing0 it4 ,by this method1 whilst the charge at the knob of one ,leyden jar is positive1 that at the terminal of the other is negative4 ,place these two instruments at equal distances on either side of the 8swing0 support1 and at such an elevation that the pith figure may just touch the brass knobs4 ,then1 if the swing be started going1 it should continue to oscillate for a considerable time4 ,as the pith figure approaches1 say1 the positive knob1 it acquires a negative charge and is thereby attracted4 ,directly it touches1 however1 this negative state is counteracted1 a positive charge supersedes it1 and repulsion between pith figure and positive knob ensues4 ,the pith doll then swings over towards the negative knob and--being positively influenced--is of course attracted until contact takes place4 ,then negative supersedes positive in the pith figure1 repulsion again results1 and a similar cycle of changes is repeated4 ,thus the figure continues to oscillate until the charges of the jars have been exhausted or have leaked away4 #ag4 ,in the same manner as the alternate attraction and repulsion of a light body has been used to maintain oscillation1 so similarly an electrostatic motor may be constructed embodying the same principles4 ,cut out a #af-pointed star of cardboard1 #h-;inch diameter1 and1 having glued a -inch slice of cork in the middle of each side 7,a1 ,fig4 #ab71 pass a knitting-needle through the star's center at right angles 7,b1 ,fig4 #ab74 ,both ends of this spindle rest in conical cavities 7,c1 ,fig4 #ab71 which may be punched or drilled in small brass discs to act as bearings1 and the apparatus is mounted as shown4 ,illustration3 ,,fig4 #ab4--;,electrostatic motor4 ,it is important that the cardboard should be perfectly dry1 and with this end in view it may well have previously received a saturation in paraffin wax4 ,when set hard1 stick a brass pin bent at right angles into each point of the star1 and set ,leyden jars of different charges beneath any two diametrically opposite points4 ,the motor1 being given a start1 should continue to revolve for some time owing to the succeeding attraction and repulsion of the metal pins4 ,the following description is of a small machine which may be fairly easily constructed1 and when in good working order will give far better results than the electrophorus4 ,fig4 #ac shows the reference letters and general arrangement4 ,two cork bungs 7,a1 ,fig4 #ac71 previously saturated with paraffin wax or shellac varnish1 are fixed into the ends of a cylindrical lamp chimney1 and through a hole in the exact center of each passes a wooden rod 7,b1 ,fig4 #ac71 which must be glued in place4 ,each end is supported in a wooden bearing 7,c1 ,fig4 #ac71 black lead being used as a lubricant1 and to the protruding one a small handle 7,d1 ,fig4 #ac7 is fitted1 wherewith the glass may be revolved4 ,next a long pad of wash leather 7,e1 ,fig4 #ac71 stuffed with horse-hair1 is fixed so as to press gently against the cylinder1 whilst a silk flap 7,f1 ,fig4 #ac7 about #b inches wide hangs over the top surface of the glass4 ,a brass chain 7,g1 ,fig4 #ac7 is also fixed to the wash-leather cushion and1 in the ordinary way1 connects to 8earth0 either direct or through the operator4 ,the wash-leather cushion is well black-leaded where it touches the glass4 ,illustration3 ,,fig4 #ac4--;,frictional machine 7more useful than the electrophorus for producing electric charges74 ,on the opposite side of the cylinder a metal comb 7,h1 ,fig4 #ac7 is supported1 the teeth being -inch away from the glass1 whilst the back of the comb is soldered to a brass knob 7,i1 ,fig4 #ac7 fixed on a wood pedestal4 ,any noticeable edges at the base of the brass globe should be filed off until only round surfaces are presented4 ,care should be taken to dry the machine thoroughly1 and if then the handle be turned regularly1 as indicated by the arrow1 the brass knob should rapidly become charged to such an extent that sparks may be drawn with the knuckles1 possibly with discomforting results6 ,if the brass ball possess any sharp edges or1 alternatively1 if a length of wire girdle it so that one end projects radially about one inch1 then the electricity will leak from these extremities in the form of a glow discharge as fast as it is developed4 ,this frequently creates such a disturbance in the surrounding air as to distinctly blow a candle flame when held at the discharging point4 ,in #ageb ,faraday invented an arrangement of attraction and repulsion by which three bells were kept ringing4 ,to the electrical machine conductor was attached a metal support from the ends of which hung two bell domes on brass chains1 whilst from the center another was supported by a silk strand and connected by a brass chain to earth4 ,between the bells small brass clappers were hung by silk threads1 as shown in ,fig4 #ad4 ,the action in working was for the machine to charge its conductor and hence the two outer bell domes1 which then attracted their brass clappers until contact took place4 ,this caused repulsion1 so that the clappers swung over to the center dome1 where discharge to earth ensued and a condition obtained when the cycle of events might be repeated4 ,illustration3 ,,fig4 #ad4--;,faraday's bell chimes4 ,having thus arrived1 via the simplest phenomena1 at a piece of mechanism which will work1 our experiments in the field of static electricity must conclude2 but rather1 let it be noted1 on account of a dearth of apparatus than from any scarcity of phenomena to be studied4 ,if therefore the reader foresees an opportunity of pursuing the subject further1 such for example as the use of a well-equipped laboratory1 let him not hesitate to snatch the advantage4 ,to mention two facts demonstrable by further experiment3 7#a7 ,frictional electricity is produced in excessively small quantities at a very high pressure4 ,for this reason sparks in air may be produced frictionally of such a length as cannot be obtained direct from batteries4 7#b7 ,friction itself is not a necessary element in the production of electrical energy1 but is adopted in order to bring every portion of the rubbed surfaces into perfect contact4 ,thus far and no further4 ,we must say 8,au revoir10 and splash down a full stop4 #a ,for the experiments in this and the following chapter ,i am indebted to the assistance rendered by ,mr4 ,stanley ,s4 ,barnard4--,c4 ,h4 ,b4 ,,chapter ,,xxxv ,,some ,,electrical ,,effects ,,the ,,magic ,,of ,,mystery ,a ,,phenomenon is always mysterious1 so long as its origin remains hidden4 ,that is to say that any event1 the causes of whose manifestation are obscure1 will be found to prompt some feeling of wonderment4 ,for this reason then--just as an automobile in motion will bewilder a savage1 because he has at no time seen any but living creatures moving1 and does not understand the new mechanism--so for us an electrical effect mostly presents something of a miraculous nature4 ,to take a concrete example4 ,whereas the ringing of a church bell by the sexton engenders no feeling of wonderment in the average listener's breast1 the buzzing of an electric bell1 which ensues upon connecting with a battery1 does have this influence to a greater or less extent1 because the electricity's behavior is by no means so obvious as that of the sexton pulling the rope4 ,let this character of the miraculous then1 which pertains with scarcely an exception to every electrical phenomenon1 stand as an excuse for the experiments to be detailed hereafter4 ,electricity may be produced by a variety of methods4 ,for commercial purposes1 where unstinted supplies are necessary1 mechanical energy is converted into the subtle force by means of dynamos4 ,exceptional sources of mechanical energy are now frequently used1 as witness the ,niagara ,falls1 where electric current is produced on the site1 and whence it is conducted by cables to places of utility2 and also the case of ,nansen's 8,farthest ,north0 ,expedition 7before ,cook found the ,pole671 which utilized a deck windmill for installation of electric light aboard4 ,electricity is also produced when any two substances are brought into contact1 and more especially if they are placed near one another1 but not touching1 in certain liquids1 thereby forming 8cells40 ,with these arrangements1 electricity finds its source in chemical action2 and1 although not powerful1 such cells are extensively employed1 on account of reliability1 in telephone and telegraph systems4 ,no more convenient source of galvanic energy has yet been devised than a battery of 8cells0--i4e4 a number of cells connected together--and the type which we intend to use1 and of whose construction the following is a description1 is among the cheapest possible to make and maintain4 ,the battery is to consist of eight cells1 connected together1 in a manner hereafter described4 ,for each cell procure a #a lb4 stone jar 7,a71 and line it inside with a sheet of tin 7,b71 which may be cut from a condensed milk can1 and should be curved so as to press outwards against the jar's inner surface 7,fig4 #a74 ,a #b-;inch length of copper wire 7,c7 is soldered to its upper edge4 ,illustration3 ,,fig4 #a4--,making a cell4 ,illustration3 ,,fig4 #b4--;,copper spiral surrounded by broken coke in rag or flannel bag4 ,the next operation is to twist an #h-;inch piece of copper wire for about #f inches of its length round a pencil1 thus forming a spiral 7,x71 round which a flannel bag 7,a7 filled with small coke 7,b7 is tied 7,fig4 #b74 ,at least two thicknesses of flannel are advantageous1 or if this be found rather expensive1 flannel and rag combined1 or odd pieces of rag alone may be utilized4 ,the chief considerations are to construct a porous wall of appreciable thickness round the coke1 and to avoid colored rags if possible4 ,the bag is to stand upright in the middle of the jar1 leaving about -inch space all round to be packed with zinc scrap1 which for convenience may well be 8granulated40 ,to make this1 melt up as much waste zinc as can be collected in a ladle and pour it in a thin stream into a large bowl of cold water1 moving the ladle over the surface of the water meanwhile1 in order to cool the zinc stream as suddenly as possible4 ,the zinc which forms in a heap at the bottom of the bowl should be breakable into very small pieces1 and is termed 8granulated0 7,fig4 #c74 ,illustration3 ,,fig4 #c4--;,granulating zinc4 ,illustration3 ,,fig4 #d4--,section of the complete cell4 ,when the cell has thus been assembled with curved tin sheet1 bag of coke and broken zinc in place1 it is nearly filled with strong salt solution1 and above this1 in order to prevent evaporation1 a thin layer of melted tallow may well be poured4 ,fig4 #d represents a section of the complete cell1 ,a being the flannel bag containing coke2 ,b1 wire from coke2 ,c1 wire from tin2 ,d1 layer of tallow2 ,e1 level of solution2 ,f1 the jar2 ,g1 the tin2 ,h1 the zinc4 ,illustration3 ,,fig4 #e4--,tray to carry battery of cells4 ,illustration3 ,,fig4 #f4--,the complete battery4 ,the eight components of the battery being thus complete1 nothing necessary remains but to connect them together4 ,however1 they will prove more portable and self contained if arranged in a shallow wood tray4 ,this may be either a confectionery box--if one of suitable dimensions is obtainable--or can perhaps be constructed as indicated by the accompanying sketch1 with handles at either end 7,fig4 #e74 ,it should certainly be strong1 as the set of jars is of considerable weight1 and would1 if accidentally dropped1 create a pretty printers' pi4 ,lastly1 when the cells have been arranged in two rows of four a side1 the finishing touch is to join the copper wire ends by twisting1 according to the plan shown in ,fig4 #f1 and the battery is complete4 ,the end wires ,a and ,b will be referred to hereafter as negative and positive terminals respectively4 ,illustration3 ,,fig4 #g4--,the compass test4 ,experiment #a4--;,connect one extremity of a straight wire with the battery's positive terminal1 and place it on the table so as to lie due north and south4 ,above it stand a compass1 whose needle--also pointing due north and south--will be parallel to the wire 7,fig4 #g74 ,now1 when the free end of the north-south conductor is connected to the battery's other terminal so that a current may flow1 the needle swings round at right angles and thus now lies east and west4 ,needless to add1 electricity prompts the needle's behavior1 and unless such movement does take place1 the cells are at fault somewhere4 ,illustration3 ,,fig4 #h4--,spark-producing4 ,experiment #b4--;,having decided by the compass's behavior that the battery is actually efficient1 bring the terminal wires into contact in the dark1 and notice the slight spark 7,fig4 #h74 ,next obtain a spare bobbin from an old electric bell 7,fig4 #i71 and pass the current round the coils whilst making the spark4 ,this should now be more distinct--thicker1 and brighter1 though not so frequent--owing to induction taking place between the wire coils4 ,illustration3 ,,aa4 ,bell-bobbin coils4 ,b4 ,iron base4 ,c4 ,wire from battery terminal joined with one end of coil wire4 ,d4 ,other end of coil wire4 ,e4 ,wire from other battery terminal4 ,,fig4 #i4--,showing connections for passing current round bell-bobbin coils4 ,experiment #c4--,repeat the previous experiment whilst using pieces of carbon1 round which the free wire ends 7,d and ,e1 ,fig4 #i7 are twisted1 to bring into contact with one another 7,fig4 #aj74 ,the spark obtained is very bright1 and may possibly by careful handling be maintained for a moment or two2 if the current is more powerful1 the spark does keep constant1 even though the carbons be drawn apart considerably1 and thus forms in principle such an arc lamp as floods the streets of towns with their dazzling rays4 ,the pieces of carbon may frequently be picked up beneath arc light standards1 after the electrician has gone on his rounds 8trimming0 the lamps4 ,illustration3 ,,fig4 #aj4--,the principle of the arc lamp4 ,experiment #d4--;,again repeat the ,no4 #b experiment1 but insert a rough file in the circuit and drag the free end of a wire from the battery up and down its surface 7,fig4 #aa74 ,sparks in plenty1 but apparently frail and resembling those thrown off by squib fireworks1 are produced in this manner4 ,illustration3 ,,fig4 #aa4--,more spark production4 ,illustration3 ,,fig4 #ab4--,magnetic lines of force4 ,experiment #e4--;,if a few iron filings 7,a1 ,fig4 #ab7 be scattered evenly on a sheet of paper 7,c1 ,fig4 #ab7 and a horse-shoe magnet 7,b1 ,fig4 #ab7 approached from beneath1 the filings arrange themselves in a curious design1 which really maps out the magnetic lines of force4 ,now1 if this experiment is repeated whilst using the bell-bobbin in place of the permanent horse-shoe magnet1 and a current passed round the coils1 the same disposition of the filings ensues1 showing that the bobbin's iron cores have been magnetized4 ,in ,fig4 #ac1 ,a is the filings2 ,b1 the wire from negative terminal battery2 ,c1 the sheet of paper2 and ,d1 the wire from positive terminal4 ,experiment #f4--8;,flax0 wire1 whose core consists of about forty fine copper filaments stranded together1 may often be had in scrap lengths at electricians' shops1 as it finds wide employment in lighting installations4 ,the silk and rubber insulation should be ignited and allowed to burn1 any residue being carefully wiped off with rag1 after which two lengths of1 say1 three strands apiece are separated from the wire core4 ,these are very flexible1 so that when attached to the battery terminals and magnet wires the bobbin1 being extended as shown by a silk strand1 is able to revolve freely in any direction4 ,as a matter of fact1 whilst the current is flowing the bobbin sets itself north and south like any other magnet--a very ordinary performance1 the reader may remark6 ,but1 on the other hand1 if the flexible wires be changed over so that the one previously connected to the battery's positive terminal is now connected to the negative and vice versa1 with the result that the current travels round the bobbin coils in an opposite direction1 the electro-magnet swings half a turn1 and comes to rest with its pole that was towards the north now pointing south4 ,so that the bobbin resembles a weathercock1 except in so far as it changes with the current instead of the wind 7,fig4 #ad74 ,illustration3 ,,fig4 #ac4--,the filings arrange themselves in a curious design4 ,illustration3 ,,fig4 #ad4--;,an electrical weathercock4 ,experiment #g4--,the number 8#g0 has been regarded among races of men as peculiarly fortunate4 ,perhaps happily1 therefore1 it falls to this experiment1 which1 indeed1 is rather the construction of new than the arrangement of old apparatus4 ,the magnetic properties of a bell-bobbin may be utilized in constructing a primitive electro-motor4 ,decapitate four #a-;inch nails1 and1 having bent -inch of both ends of each at right angles1 mount them equal distances apart round the circumference of a thread reel 7,fig4 #ae74 ,illustration3 ,a4 ,nail ready to drive into reel4 ,,fig4 #ae4--;,a primitive electro-motor4 ,illustration3 ,a4 ,square of copper or tin4 ,b4 ,brass standard4 ,,fig4 #af4--,standard for electro-motor4 ,next plug the center hole of this reel with hard wood1 and bore another hole through of smaller diameter1 so as to slide stiffly on a straight piece of -inch brass wire4 ,about #a inch from the cotton reel is to be soldered a -inch square of tin or copper sheet1 having a hole at its center through which the brass spindle passes 7,fig4 #af74 ,two small brass standards1 for which straightened curtain-rod clips may well be employed1 are screwed about #c inches apart to a wooden baseboard1 and have a hole drilled near their top edges to accommodate the spindle 7,b1 ,figs4 #af and #ag74 ,this being placed in position1 should be provided near the bearings with washers 7,e1 ,fig4 #ag7 and beads 7,d1 ,fig4 #ag71 the washers being soldered in order to prevent lateral movement of the shaft4 ,lastly1 with a view to realistic appearance1 solder a small tin fan 7,c1 ,fig4 #ag7 to one projecting end of the spindle1 and enamel or paint it gray4 ,the arrangements of these fittings are made quite clear by the diagram4 ,illustration3 ,,fig4 #ag4--;,an electro-motor4 ,illustration3 ,h4 ,wood strip across top of magnet4 ,i4 ,block of wood supporting bobbin at correct height4 ,j4 ,wood base board4 ,,fig4 #ah4--;,bell-bobbin mounted4 ,by now the most difficult part of our task has been attempted1 so that if the reel and spindle revolve 8sweetly0 in the bearings1 no doubt need be entertained as to whether the motor will ever reach completion4 ,the bell-bobbin must be mounted with its magnet faces as near the reel circumference as possible1 and with their centers the same height above the baseboard as the spindle4 ,a piece of wood beneath the bobbin1 of such thickness as to keep it at the right height1 and another strip across the top1 through the ends of both of which screws are driven into the baseboard1 will secure the magnet firmly in position 7,fig4 #ah74 ,the next operation is to bend a springy strip of brass to the shape shown in ,f1 ,fig4 #ai1 and fix it immovably by the screw ,g--round which one free end of the bobbin wire 7,l7 has been twisted several turns--to the baseboard1 so that its top portion misses the metal square or contact-breaker 7,p7 on the spindle by about inch4 ,now drive a second screw 7,r7 carefully into the wood through another hole in the strip1 until this latter presses lightly against each point of the contact-breaker successively as the spindle revolves4 ,illustration3 ,,fig4 #ai4--,the contact-breaker4 ,illustration3 ,,fig4 #bj4--,showing wire connections 7,x1 ,y1 ,z7 and motor4 ,the little motor is now complete1 except1 perhaps1 for the addition of two terminal screws1 one of which is joined with the remaining free bobbin wire1 and the other by a short length of wire to either of the bearings4 ,the entire connections are shown in the accompanying sketch 7,fig4 #bj74 ,now for working6 ,connect the battery wires to the motor terminals1 and adjust the spindle so that one corner of the contact-breaker is fairly touching the vertical brass strip4 ,a current should now be flowing round the bobbins1 which consequently become magnetized and attract the nearest iron nail fastened to the thread reel4 ,if the iron is not sufficiently near to be under the magnet's influence1 turn the reel on the shaft until it is in the proper position4 ,the motor1 with a little adjustment1 ought to run merrily1 as the bell-bobbin--alternately magnetized and demagnetized--attracts and releases the short iron bars4 ,experiment #h4--;,connect the battery terminals together by means of some thin iron wire such as is used for wiring flowers1 and twist it into a spiral so that it may rest comfortably in a cup of cold water 7,a1 ,fig4 #ba74 ,stand also therein a thermometer 7,b1 ,fig4 #ba74 ,the water's temperature will be observed to rise steadily1 showing that the passage of the electric current heats the iron wire 7,c1 ,fig4 #ba71 which in turn imparts some warmth to the surrounding liquid4 ,illustration3 ,,fig4 #ba4--,warming water by electricity4 ,illustration3 ,,fig4 #bb4--;,decomposing water into its chemical constituents by means of an electric current4 ,experiment #i4--,the previous experiment showed that an electric current heats a material through which it passes4 ,if the thin iron wire be shortened to a length of about -inch1 our battery will probably bring it to red-heat1 thus demonstrating the principle of electric incandescent lamps4 ,the difference between theory and practice1 however1 in this case consists in the use of carbon1 or1 very rarely1 platinum1 in place of the iron filament1 and of inclosing this in a glass bulb free of air1 so that combustion cannot proceed rapidly4 ,experiment #aj4--;,immerse two wires from the battery terminals at some little distance apart in a glass of water1 which has been slightly soured with sulphuric acid or spirits of salt4 ,the weak acid readily conducts the electric current1 which decomposes the water into its chemical constituents1 hydrogen and oxygen1 the former gas coming off in bubbles at the wire which leads from the battery tins1 and the oxygen round the other conductor 7,fig4 #bb74 ,the hydrogen bubbles may perhaps be ignited as they are evolved by holding a lighted match just near the water's surface2 or another method is to seal the wires into separate glass tubes1 so that both dip beneath the water1 and light the hydrogen gas as it escapes from the tube's upper end 7,fig4 #bc74 ,in this case great care must be taken to allow time for the expulsion of all air from the tube1 because hydrogen and air in certain proportions form a very explosive mixture4 ,illustration3 ,,fig4 #bc4--,the hydrogen bubbles may be ignited by holding a match near the free end of the hydrogen tube4 ,illustration3 ,,fig4 #bd4--;,electro-plating in its infancy4 ,experiment #aa4--,repeat the foregoing experiment1 using copper sulphate solution in place of the acidified water4 ,after the current has passed for some time1 one of the wires will be noticed to have become thicker whilst the diameter of the other has decreased4 ,this behavior is owing to deposit of copper from the solution on the one conductor and abstraction of metal from the other1 whose bulk diminishes in automatically maintaining the solution's strength 7,fig4 #bd74 ,in this reaction is seen the basis of commercial electroplating--silver and nickel solutions being mostly employed instead of the copper bath1 since these are the metals with which those of a baser nature are more frequently plated4 ,experiment #ab4--;,electrotyping is a modification of electro-plating1 where a mold of wax coated with some conducting substance like graphite is used to deposit the metal upon4 ,melt some quantity of sealing-wax on to a piece of cardboard1 so that it spreads out slightly larger in diameter than a fifty-cent piece1 and when just plastic press the 8head0 surface of the new coin into the wax1 so that an exact replica is obtained4 ,fasten a copper wire by some extra wax to the cardboard disc 7as in ,fig4 #be71 and carefully cover the whole matrix with powdered blacklead1 working it well into the crevices and up to the copper conductor1 with a camel-hair brush4 ,hang this in a jar containing saturated copper sulphate solution--the copper wire being connected to the negative battery terminals 7,a1 ,fig4 #bf71 whilst a sheet of copper or coil of wire is suspended in the solution some little distance from the sealing-wax mold1 with a wire connecting to the other battery terminal 7,b1 ,fig4 #bf74 ,illustration3 ,,fig4 #be4--,preparation for experiment in electrotyping4 ,illustration3 ,,fig4 #bf4--,sealing-wax mold suspended in solution of saturated copper sulphate1 near to sheet of copper or coil of wire4 ,so long as the current continues flowing a reddish deposit will form on the blacklead surface1 and if the action be allowed to continue until a fair thickness of metal is secured1 the wax may be carefully melted off1 leaving an exact relief of a fifty-cent piece's reverse side in a copper4 ,any medal or seal may be used in place of the silver piece to obtain a first mold1 but the coin has been mentioned as being probably the most suitable article near at hand4 ,with this example of electrotyping1 our series of descriptions must terminate4 ,but the embryo scientist1 who has traveled thus far1 need not cast his apparatus to the winds and henceforward forsake electrical matters4 ,he may arrange various combinations of wines and liquids--such1 for example1 as passing the current through water to his motor1 and noting the decrease in speed1 or insert various lengths of iron wire in the circuit4 ,possibly the batteries will betray exhaustion1 and they may then be reinstated by discarding the old salt solution1 rinsing and replenishing the granulated zinc1 and washing the flannel bags in permanganate of potash solution4 ,these batteries are1 in fact1 a real asset1 as they can be used--three or four together--in setting up an electric-bell installation1 and are easily replenishable1 when at length their life begins to ebb4 ,an endless fund of amusement--less expensive and more instructive than many--awaits those who explore the realms of the pygmy lightning spark4 ,,chapter ,,xxxvi ,,safe ,,scientific ,,experiments ,,amusing ,,tricks ,,with ,,simple ,,apparatus ,,to many boys and girls who have acquired at school some knowledge of ,science1 the mere mention of the words 8,scientific ,experiments0 recalls memories of experiments far from amusing1 for the science of the laboratory is more often than not accompanied by some of the innumerable little worries of school life4 ,when1 however1 experiments are conducted at leisure in the home1 the work assumes a totally different aspect1 and much pleasure may be derived from it4 ,not only may such experiments become a source of great amusement1 but they are of considerable educational value1 since it is from the study of the most elementary scientific laws that some of the greatest discoveries of modern science have been made4 ,the aim of this chapter is1 then1 to place before you a series of interesting and instructive experiments which may be performed for the amusement of yourselves and friends on occasions when outdoor recreation is impossible4 ,in selecting these experiments1 endeavors have been made wherever possible to mention only home-made apparatus1 or such requisites as are easily procurable at very slight cost4 ,of what1 then1 do these amusing experiments consist8 ,,piercing ,a ,,coin ,,with ,a ,,needle ,the first is one which1 at a casual glance1 seems impossible to perform4 ,to pierce a copper coin with a needle1 especially if the needle is thin1 seems1 indeed1 a tremendous task4 ,it is1 however1 very simple4 ,the apparatus necessary consists of a cork1 a needle1 and a hammer4 ,stick the needle through the cork in such a manner that the point only just protrudes1 and1 with a pair of pincers1 cut off the head of the needle remaining above the cork4 ,then1 having placed the coin and cork as shown in the diagram1 hit the cork vigorously with the hammer 7,fig4 #a74 ,the needle being unable to bend in any direction owing to the cork keeping it rigid1 will pierce the coin quite easily1 since we know that the steel of which the needle is composed is harder than the copper of the coin4 ,illustration3 ,,fig4 #a4--;,coin piercing extraordinary4 ,illustration3 ,,fig4 #b4--;,a match trick4 ,a ,,match ,,trick ,another very interesting experiment is that performed with an ordinary match1 a bottle1 and a coin4 ,illustration3 ,,fig4 #c4--;,coin leaving match and dropping into the bottle4 ,bend in two an ordinary large match1 thus partly breaking it1 in such a manner that the two parts hold together by a few fibers of wood4 ,place it1 thus broken1 on the neck of a bottle1 and then on the match place a dime or any other small coin4 ,having done this ask a friend if he can make the coin fall into the bottle without touching the coin1 the bottle1 or the match4 ,you will find that he will search in vain for a solution to this seemingly impossible task1 which however may be overcome in a very simple manner1 as may now be seen4 ,dip your finger in a glass of water1 and placing it above the angle formed by the match1 allow one or two drops of the liquid to fall on this angle 7,fig4 #b74 ,immediately the fibers of wood1 swollen by the moisture1 try to straighten themselves1 and you will see the angle of the match increase little by little until the match no longer supports the coin1 which then drops into the bottle 7,fig4 #c74 ,,the ,,tricolor ,,glass ,most of us1 if not all1 know that if wine is carefully poured on water1 it floats on the surface1 but not every one knows how to place the wine at the bottom of the glass with the water above it1 and this without mixing the two liquids4 ,for this experiment make use of the different densities of hot and cold water4 ,take an ordinary glass 7moistened first with hot water to prevent its cracking7 and pour some boiling water into it4 ,then by means of a funnel placed almost to the bottom of the glass1 pour in some wine which has previously been cooled by ice4 ,by working carefully you will see the wine form in a red layer at the bottom of the glass 7,fig4 #d74 ,illustration3 ,,fig4 #d4--,the wine at the bottom of the glass4 ,illustration3 ,,fig4 #e4--,the tricolor glass4 ,now gently remove the funnel1 and pour on the surface a bluish liquid lighter than water 7for instance1 alcohol colored with ink7 7,fig4 #e74 ,you will now have a layer of blue on top1 thus completing the tricolor glass1 which will by the aid of a light project the three colors of the flag on the wall4 ,the tricolor glass may also be used for illumination purposes4 ,to make it represent fireworks is even more entertaining4 ,if you allow the water in the glass to cool by placing it in a vessel containing cold water1 the wine will rise from the bottom of the glass in the form of thin threads1 strongly resembling rockets 7,fig4 #f74 ,the different liquids mix1 and the descending columns of blue1 mixed with the ascending columns of red1 produce a curious spectacle like that of fireworks in a glass of water4 ,illustration3 ,,fig4 #f4--,water rockets4 ,illustration3 ,,fig4 #g4--;,changing water into wine4 ,,changing ,,water ,,into ,,wine ,this is not a reproduction of the miracle performed at the wedding feast of ,cana1 but it is1 nevertheless1 a most interesting experiment4 ,fill two tumblers 7,a71 or wine glasses1 of equal diameter1 with water1 by completely immersing them in a basin of that liquid1 standing one upright and the other upside down upon it4 ,when they are both completely full1 with not a bubble of air in either1 join their rims and remove them from the basin4 ,now place them upright on a dish1 and1 if their rims fit accurately upon each other1 the water will remain in them4 ,it is now necessary to place on the top of the upper glass a third glass1 7,b71 containing wine1 or better still1 spirits of wine in which is dissolved a little aniline dye4 ,now announce to your friends that without touching any of the glasses1 you will1 before the eyes of the audience1 cause the wine to pass from the glass 7,b7 into the upper 7,a7 glass without a drop entering the lower 7,a7 glass4 ,in order to perform this amazing experiment take a strip of wool or cotton1 moisten it with the liquid contained in the top glass 7,b71 and hang it over the edge of this glass with one end completely immersed in the liquid4 ,this forms an excellent siphon1 for it allows the liquid in the top glass 7,b7 to flow away in drops which fall on and run down the glass underneath until they reach the junction of the rims4 ,here they are drawn in by capillary attraction1 and1 the wine being lighter than the water1 they rise to the top of the upturned glass 7,a71 displacing the water contained therein by causing it to flow out between the rims1 after which it collects in the dish below4 ,this action will go on until the top glass 7,b7 is empty1 when the whole of its contents will find their way into the upturned glass1 whilst the lower one 7,a7 remains perfectly clear 7,fig4 #g74 ,,the ,,eruption ,,of ,,vesuvius ,many of us1 no doubt1 have often tried to picture to ourselves a volcano in eruption1 but most will confess that unless we have seen some very good pictures of an actual eruption1 we are not at all certain that our self-made picture is correct4 ,now to detail an experiment which gives a vivid idea of a volcano in action4 ,at the bottom of a large glass bowl put a flask containing red wine1 or spirits of wine1 in which has been dissolved a little aniline 7,b1 ,fig4 #h74 ,this flask should be closed by a cork pierced with a very narrow hole4 ,by the aid of plaster1 or1 simpler still1 of earth or clay1 fashion a mountain around the flask1 leaving at the top a hole through which the cork can just be seen4 ,this will form the crater4 ,having made your volcano1 fill the bowl with water 7,a1 ,fig4 #h71 and you will now witness the eruption4 ,we know that1 owing to the difference in the density of the two liquids1 the water will penetrate into the flask1 thus displacing the wine1 which escapes in a thin red column4 ,as this column nears the surface1 it will spread out1 thus resembling a cloud of fiery smoke as seen issuing from a volcano4 ,care must be taken to shake the water1 in order that the streak of color may represent in as realistic a manner as possible the reddish smoke of a volcano disturbed by the wind4 ,illustration3 ,,fig4 #h4--,the eruption of ,vesuvius4 ,illustration3 ,,fig4 #i4--,vesuvius in eruption4 ,in this way you will provide your friends with an almost exact reproduction of ,vesuvius in action 7,fig4 #i74 ,illustration3 ,,fig4 #aj4--;,a peculiar candlestick4 ,a ,,peculiar ,,candlestick ,water supporting a lighted candle seems a very peculiar form of candlestick2 and yet despite this it will be found quite as serviceable as any other4 ,to make the candlestick is quite easy4 ,all you have to do is first to weight the end of a piece of candle 7previously used7 with a nail or piece of metal1 in such a manner that1 when placed in a vessel of water1 the liquid will be flush with the edge of the candle without wetting the wick4 ,next light the candle1 and announce that1 in spite of the unfavorable surroundings1 your candle will burn to the end4 ,this may at first seem extraordinary1 but a little reflection will show that your statement is correct1 for this experiment is only a striking example of the ,law of ,archimedes1 which states that 8when a body is immersed in water1 it loses in weight an amount equal to the weight of the water displaced40 ,now1 whilst the candle is being consumed it is becoming shorter1 but1 on account of its diminution in weight1 it rises in the water at the same rate at which it is consumed 7,fig4 #aj74 ,,making ,a ,,paper ,,fish ,,swim ,the title of this experiment suggests something rather wonderful1 indeed1 for it seems impossible to impart motion to a paper fish4 ,it may be done1 however1 and quite easily1 as will be seen from the following4 ,from a piece of ordinary paper cut out a fish like that shown in the diagram1 and of the size of an ordinary fish4 ,in the center make a circular hole 7,a71 communicating with the tail by a narrow canal4 7,a ,b7 7,fig4 #aa74 ,having done this1 fill an elongated vessel with water1 and place the fish on the surface of the liquid in such a manner that the underneath face is completely moistened1 while the other remains quite dry4 ,illustration3 ,,fig4 #aa4--,the swimming paper fish4 ,you are now ready to set the fish in motion2 but to add to the interest of the experiment1 challenge any of your friends to make the fish move without touching or even blowing upon it4 ,this may seem to them impossible4 ,this is how it is performed4 ,illustration3 ,,fig4 #ab4--,the swimming fish4 ,with great care pour one large drop of oil into the opening 7,a72 the oil at once tries to spread over the surface of the liquid1 but that is only possible if it escapes by the narrow passage 7,a ,b74 ,this it does1 and owing to the reaction the fish is thrust in the direction opposite to the flowing of the oil--i4e4 it will be thrust forward1 the movement lasting long enough for the spectators to view with astonishment the unusual sight of a paper fish swimming 7,fig4 #ab74 ,,floating ,,pins ,,and ,,needles ,illustration3 ,,fig4 #ac4--,the floating pin4 ,if a drop of water is placed on glass it will at once spread1 but if the same thing is done with a drop of mercury1 the liquid will not spread1 but remain in the form of a bead4 ,these two different results are due to the fact1 that whilst the water wets the glass the mercury does not4 ,now take a pin which has been well dried2 it is a body which water will moisten1 but owing to its very smooth surface1 not so easily as in the case of glass4 ,suppose1 then1 that by some means or other you can place the pin so gently on the surface of the liquid that the water does not make it wet1 you will notice that the water takes on either side of the pin a convex shape1 and in this way a sufficient volume of water is displaced to allow the pin to float as if it were a match4 ,the experiment may1 of course1 be as easily performed with a needle2 nor must it be thought it is confined to pins and needles which are thin1 for1 with care1 you may even succeed with big darning-needles4 ,it has not yet been shown1 however1 how to place the pin on the water in such a manner that it is not made even wet4 ,there are several ways of doing this1 some requiring considerable practice4 ,the following is the simplest4 ,float on the surface of the water a cigarette paper2 place the pin upon it2 leave the paper to sink to the bottom when it has become soaked1 and the pin will float without any difficulty1 for on either side of the pin the water takes the convex shape before mentioned1 thus displacing sufficient water to allow the pin to float4 ,in order to hide from the spectators the stratagem you have employed1 gently remove the paper before showing them the floating pin4 ,,joined ,,by ,,air ,the picture below is not taken from a prospectus advertising cement for joining glass and porcelain1 but is simply used to show how atmospheric pressure may be utilized for joining glasses and plates4 ,in order to accomplish this it is necessary to form a vacuum1 but as an air-pump is not at the disposal of every boy a partial vacuum must suffice4 ,to obtain this partial vacuum suspend a glass from the ceiling1 or any other suitable place1 by means of a string1 and under it burn a piece of paper4 ,this will cause the air it contains to expand4 ,immediately afterwards place the plate over the mouth of the glass1 and it will adhere quite firmly4 ,in order to prevent the entrance of any external air1 and thus destroy the vacuum1 the edges of the glass may be smeared with tallow4 ,now1 how is it that the glass and plate are so easily fixed8 ,well1 directly the hot air contained in the glass comes in contact with the cold surface of the plate1 the air contracts1 and as the plate prevents the entrance of any more air1 a partial vacuum is formed within the glass4 ,illustration3 ,,fig4 #ad4--;,joined by air4 ,as the atmospheric pressure is much greater than the pressure from within1 the plate remains firmly fixed to the glass 7,fig4 #ad74 ,,glass ,,raising ,,extraordinary ,this experiment1 similar in principle to the last1 is quite as striking in its effect4 ,it consists of raising in air a glass filled with water1 by causing it to adhere to the hand when the latter is held quite open4 ,with the last experiment fresh in our minds1 it is not difficult to guess that this phenomenon is due to the existence of a partial vacuum under the hand1 but it is not so easy to know how to obtain this vacuum4 ,the means of carrying out the experiments are as follows3-- ,put the glass filled with water on the table1 and over the top place the palm of the hand1 taking care that the four fingers are bent almost at right angles1 as shown in the first of the accompanying figures 7,fig4 #ae74 ,if1 continuing to press the palm of the hand on the edge of the glass1 you raise the four fingers quickly1 thus having the palm stretched out1 you will force out most of the air which is between your palm and the surface of the water1 and in this way you will produce under your hand a partial vacuum4 ,this vacuum will be sufficient to allow the atmospheric pressure to overcome the weight of the glass and its contents2 thus a sucker is formed which allows the glass to remain attached to the hand 7,fig4 #af74 ,illustration3 ,,fig4 #ae4--;,glass raising extraordinary4 ,illustration3 ,,fig4 #af4--;,glass raising extraordinary4 ,a ,,novel ,,glass ,,emptier ,if you are given a glass filled with water1 and a bottle equally full1 and then asked to empty the glass by means of the bottle1 and that without emptying the bottle itself1 you will imagine you have been set a very difficult task indeed4 ,illustration3 ,,fig4 #ag4--,the glass-emptying bottle4 ,you will soon see1 however1 that the solution to this seemingly difficult experiment is quite simple4 ,first take a cork1 and in it pierce two holes4 ,through these gently push two straws1 one being as long as the glass1 the other considerably longer 7,fig4 #ag74 ,by means of a pellet of bread or wax close the opening of the shorter straw1 and push the cork into the bottle until the water gushes out of the longer straw4 ,in order to empty the glass it is now only necessary to turn the bottle upside down1 in such manner that the little straw touches the bottom of the glass4 ,then1 taking a pair of scissors1 cut this straw very near the end which is sealed4 ,immediately the water in the glass will flow out by the long straw until the glass is quite empty1 despite the fact that the bottle has remained full all the time 7,fig4 #ah74 ,now for a few words of explanation1 in order to make clear the reason for this unexpected action4 ,the two straws form the two arms of a siphon1 and as they are full of water it is not necessary to remove any air from them4 ,illustration3 ,,fig4 #ah4--;,a novel glass-emptier4 ,as the liquid flows out of the long straw1 it tends to produce in the bottle a vacuum4 ,as a vacuum is contrary to nature1 it is immediately destroyed by the entrance of an equal quantity of water from the little straw1 for the atmospheric pressure exerted on the water in the glass keeps this little straw continually full4 ,in this way all the water is drawn from the glass by the bottle filled with water4 ,a ,,striking ,,siphon ,,experiment ,a very pretty experiment with the siphon may be performed by making use of the following simple apparatus3 ,an ordinary glass2 a little water colored1 say with aniline2 a piece of rubber tubing about an inch long1 one end of which is cut obliquely1 as shown in the diagram2 together with a piece of glass tubing from four to five feet long4 ,illustration3 ,,fig4 #ai4--;,a siphon experiment4 ,this tubing may be obtained from almost any druggist4 ,prepare for your experiment by taking the length of tubing and1 with a gas flame1 drawing one end out to a point4 ,having done this1 bend the tube twice1 as shown in ,fig4 #ai1 particular care being taken to avoid any sharp angles4 ,the bending of this tubing is easily done by holding it in a gas or spirit-lamp flame until the flame is colored yellow4 ,the glass is then soft enough to be gently bent to the required angle4 ,over the end which is not pointed slip the piece of india-rubber tubing1 and then place this end in the colored water4 ,by applying suction to the pointed end of the tube with your mouth1 the siphon may be set in motion4 ,if now you so arrange the tube that the oval opening is partly out of water1 the flowing liquid will draw in bubbles of air which1 passing alternately down the tube with the drops of colored water1 produce a very pretty result4 ,the shape and size of the air bubbles may be altered at any time by raising or lowering the tube1 and this will add to the effect of the experiment4 ,the experiment may be again varied by removing the tube from the liquid1 and before lowering it again1 allowing #aj or #ab inches of air to enter4 ,this long bubble will be seen to pass slowly down the tube until it arrives at the small opening1 when it will be expelled at a great rate4 ,the liquid following this bubble acquires the same velocity1 and1 arriving at the point1 is ejected with such force that it will rise to a height of #f or #g feet4 ,,an ,,electric ,,fountain ,most of you would like to make an electric fountain1 especially when you learn how simple and easily arranged is this striking experiment4 ,your apparatus consists solely of a glass1 a long india-rubber tube1 with two small glass tubes and a piece of sealing-wax 7a stick of sulphur or piece of vulcanite will do just as well74 ,make a small nozzle by drawing out a length of bent glass tubing1 and1 by means of a long piece of india-rubber piping1 fix it to another piece of bent glass tubing4 ,place the first piece of tubing bent at two right angles over the side of a glass filled with water1 taking care that the reservoir thus formed is from #c to #d feet above the nozzle 7,fig4 #bj74 ,when the fountain is playing the issuing jet of water will be inclined to one side4 ,now to electrify the fountain4 ,take the piece of sealing-wax1 vulcanite1 or sulphur1 and1 after seeing that both your hand and the material you hold are perfectly dry1 rub the sealing-wax on the sleeve of your coat4 ,illustration3 ,,fig4 #bj4--;,an electric fountain4 ,if now you hold the sealing-wax opposite the stream of water1 at a distance of a few feet1 a remarkable change will come over the cascades4 ,instead of the water falling in scattering drops1 these latter will at once unite1 and descend in a solid stream1 whilst directly the sealing-wax is removed the jet of water returns to its original form4 ,if the water be allowed to fall on a piece of stiff paper1 a difference in sound will be noticed according as the water falls in a stream or in drops4 ,,the ,,bottle ,,cannon ,doubtless you would like to have at home the experience of firing a cannon1 of hearing a report loud enough to frighten nervous persons1 to see the shell fly as quick as lightning1 and then to witness the recoil of your home-made piece of artillery4 ,your apparatus will be quite simple1 for you must first take a strong bottle1 such as a vinegar1 or better still1 a champagne bottle1 and fill it a third full with water4 ,next take a little carbonate of soda1 and also some tartaric acid1 both of which may be obtained at any druggist's1 taking care to wrap them in packets which will not be confused one with the other4 ,dissolve the carbonate of soda in the water contained in the bottle1 at the same time placing the tartaric acid in a playing card rolled in the form of a cylinder1 one end of which should be filled with a plug of blotting-paper4 ,illustration3 ,,fig4 #ba4--,the bottle cannon4 ,having accomplished this much to your satisfaction1 suspend the cartridge just made from the cork of the bottle by sticking in it a pin to which is attached a thread1 particular care being taken that the bottle is standing upright on the table1 and that the open end of the tube is the upper one4 ,after having regulated the length of the thread so that the bottom of the tube does not touch the liquid in the bottle1 tightly fit the cork in4 ,you now have your cannon charged1 and all that remains to be done is to fire it4 ,this is done by laying the bottle horizontally on two pencils placed parallel to one another1 thus forming a gun-carriage4 ,immediately the bottle is so placed1 the water penetrates the tube1 and dissolves the tartaric acid4 ,the carbonic acid gas which is immediately produced blows out the cork with a violent explosion1 whilst at the same time1 owing to the reaction1 the bottle rolls back on the two pencils1 in exact imitation of the recoil of a piece of artillery 7,fig4 #ba74 ,,chapter ,,xxxvii ,,safe ,,chemical ,,experiments ,,twentieth-,,century 8,,black ,,art0 ,,as we stand in the twentieth century and peer curiously down the corridors of ,time1 we find at all periods a deep interest in chemical phenomena4 ,from the age when wisdom devoted itself in vain to the discovery of an elixir of life and a method of transmuting the base metals into gold1 to the present day1 when scientists pursue their experiments with more reasonable and far worthier hopes1 chemistry appears never to have suffered any dearth of devotees1 despite the fact that in olden times one had either to occupy a high position or be a man greatly daring if the ,black ,art was to be followed without fear of molestation4 ,to-day matters are different1 so that the junior chemist need only anticipate interference from materfamilias--a truly excellent person1 who1 however1 invariably regards chemical concoctions with hostile contempt4 ,the obstacles instanced in the previous paragraph being foreseen1 perhaps no better initiative can be taken than to conciliate the household deities by the performance of some particular experiment which has an obviously beneficial result4 ,this might happily be the removal of ink stains from white linen2 and naturally1 if no cloth happen to be so disfigured1 some arrangement must be made whereby the ink is accidentally spilt6 ,,experiments ,,with ,,chlorine 7#a7 ,apparatus4--,erect a #d-oz4 round-bottom flask about #h inches above the table 7,a1 ,fig4 #a71 by clamping its neck in a wooden clip or twisted stiff iron wire1 and fastening this to a firm standard4 ,introduce three or four tablespoonfuls of powdered manganese dioxide 7obtainable cheaply in qr4 lbs4 at most druggists'71 and pour over this spirits of salt until the flask is one-third full4 ,into the neck now fit a cork provided with two circular holes1 through one of which a stem funnel passes1 and into the other a glass tube fits tightly1 being bent at two right angles1 as shown in ,fig4 #a4 ,the glass tube may be readily bent by softening it first over a spirit lamp--the flame being colored distinct yellow when the glass reaches a pliable state4 ,slide a #d-;inch disc of paper 7,b1 ,fig4 #a7 on the free limb of the tube1 and also soak several #d-;inch circles of cardboard in water4 ,these will make satisfactory covers for the small glass preserve jars1 in which the gas is to be collected4 ,illustration3 ,,fig4 #a4--;,apparatus for chlorine experiments4 7#b7 ,preparation4--,place one jar beneath the glass tube so that the latter's orifice reaches nearly to the bottom1 and slide the paper disc down until it covers the mouth of the jar ,c4 ,on warming the glass flask gently with a spirit lamp or1 if available1 ,bunsen gas flame1 a greenish-yellow gas is evolved1 and gradually expels the air from flask1 tube1 and jar1 until this latter is filled with heavy chlorine4 ,the warming is then interrupted whilst the one jar is removed1 covered with a moist cardboard disc1 and replaced by another4 ,the heating again proceeds1 and so on until each remaining jar is successively filled4 ,illustration3 ,,fig4 #b4--,the unalterable postmark4 ,chlorine ,experiments 7#a74--;,damp an addressed envelope1 received through the post1 by pressing between sheets of wet blotting-paper1 and stand it in a jar of chlorine with the cover replaced 7,a1 ,fig4 #b74 ,the writing ink address will soon begin to fade and finally disappear1 whilst the postmark1 which has been impressed in indelible printing ink1 remains unaltered4 ,this reaction shows that chlorine possesses the valuable property of bleaching writing ink4 ,it may be turned to account in removing stains from cloth by wetting the spoiled material first and then standing in a vessel containing the yellow gas 7,fig4 #c74 ,the fabric must be quite damp1 however1 as bleaching only proceeds in the presence of moisture4 ,coloring matters1 other than black ink1 are readily removed by chlorine1 as may be strikingly shown by steeping a wet rose blossom or bunch of violets in a jar of the gas 7,fig4 #d72 the flowers assume a transparent waxy appearance1 that will puzzle any spectator as to their real identity4 ,illustration3 ,,fig4 #c4--,removing stains from linen by means of chlorine4 ,illustration3 ,,fig4 #d4--,the transparent rose4 ,chlorine ,experiments 7#b74--,the energetic gas attacks many substances spontaneously4 ,if thin blotting-paper be soaked in turpentine1 drained1 and dropped into a jar of chlorine1 the oil takes fire at once1 burning rapidly amid smoky black fumes4 ,metals are attacked just as readily as the inflammable oil of turpentine4 ,powdered antimony metal or iron filings shaken into a jar of chlorine scintillate brilliantly with the evolution of thick white fumes4 ,similarly ,dutch metal leaf1 used for gilding cheap picture frames1 ignites in the gas2 a salt of copper being precipitated to the bottom of the jar when the action has ceased4 ,all dealings with chlorine should be conducted in a well ventilated--even draughty--room1 and care must be taken not to inhale the gas4 ,it corrodes animal tissues just as eagerly as it attacks turpentine and metals4 ,the gas is very heavy1 however1 and is therefore the less difficult to keep under control4 ,niter ,paper4--,touch-paper burns quickly1 surely1 and without flame4 ,it is prepared by soaking thin tissue paper with a saturated solution of saltpeter in weak vinegar1 and when dry feels rough and crisp to the touch4 ,moreover1 it burns with a rather pleasant smell4 ,the advertisement scheme of bygone days1 wherein a lighted match was placed on a particular spot of a paper sheet1 and thence the name of the advertised commodity gradually burnt itself out over the surface1 was a modification of this preparation 7,fig4 #e74 ,the name or design is simply drawn with a pointed stump of wood dipped repeatedly in the saltpeter solution1 and the starting-point marked conspicuously by a cross or black spot4 ,when dry a match is applied to this mark4 ,if there is a tendency for other parts of the paper than the design itself to burn1 a short immersion in dilute alum solution1 when the saltpeter lines have dried1 may be resorted to4 ,illustration3 ,,fig4 #e4--;,a niter paper experiment4 ,electric ,fire4--,this compound is in no way of an electric nature1 except that it burns rapidly with brilliant blue illumination4 ,the constituents are flowers of sulphur1 saltpeter1 and antimony1 four parts of the former being intermingled with ten parts of powdered saltpeter1 and then one-seventh the total quantity of powdered antimony finally added4 ,thorough mixing by gentle stirring must be insured4 ,a good method of firing the powder is to pack it round a twist of touch-paper in a small mustard tin1 threading the fuse 7,a1 ,fig4 #f7 through a hole in the lid1 so that it may be lighted easily4 ,the mixture burns not only brightly1 but with intense heat--sufficient to melt the thin iron of the inclosing tin4 ,illustration3 ,,fig4 #f4--,lighting electric fire4 ,illustration3 ,,fig4 #g4--;,a sodium or potassium experiment4 ,the ,lightest ,element4--,hydrogen is a gas at ordinary temperature1 and has the honor of being the lightest element1 for all practical purposes1 known4 ,for this reason it finds wide employment in filling balloons and airships4 ,the most common methods of preparation consist of decomposing water or an acid in their several constituents1 either by the influence of electricity or the reaction of a metal4 ,for instance1 if a pea's bulk of sodium or potassium metal be thrown into a basin of water1 ,a1 ,fig4 #g1 7the experimenter should not bend directly over the vessel71 a violent reaction ensues1 the metal decomposes and hustles round the surface as though in feverish excitement1 and in the case of potassium a purple flame springs up spontaneously4 ,the sodium may also be ignited if it is thrown on to a floating piece of blotting-paper1 or if the water be thickened with starch4 ,this metal burns with a yellow flame1 or rather colors the hydrogen flame yellow4 ,illustration3 ,,fig4 #h4--;,an interesting hydrogen experiment4 ,preparing hydrogen by the foregoing method is inconvenient and expensive if any quantity is to be collected1 and so in this case the following plan is usually adopted3--,support a flask 7,a1 ,fig4 #h71 and place zinc chips 7,b7 in it to the depth of about inch4 ,fit the mouth with a cork1 through which passes a delivery tube 7,c7 and a 8thistle0 funnel 7,d71 dipping nearly to the level of the zinc4 ,when the gas is required1 dilute sulphuric acid--one part oil of vitriol to ten parts water--is poured down the funnel until the flask is about one-third filled 7,e74 ,five or ten minutes should be allowed after bubbling has commenced before an attempt is made to light the gas at the delivery tube1 as otherwise air from the flask may be intermingled in the exact proportion to cause a bad explosion4 ,no danger need be feared if several minutes are allowed for the air to be thoroughly dispelled1 or1 as an additional measure of safety1 a damp towel 7,f7 is wrapped round the flask to prevent scattering of the glass in the event of a mishap4 ,the glass delivery tube should have been softened in a spirit flame and drawn to a fine point where the hydrogen issues4 ,the gas will be found to burn with an almost colorless flame4 ,if a glass tube 7,a7 of larger bore than the delivery pipe be slid over this latter while the gas burns1 a peculiar musical note is produced--hollow-sounding and shrill 7,fig4 #i74 ,it is caused by the rapid succession of slight explosions which constitute the combustion of hydrogen4 ,illustration3 ,,fig4 #i4--;,a musical flame4 ,the extreme lightness of hydrogen1 as well as its combustibility1 is well illustrated by blowing a soap bubble4 ,connect a clay pipe with the glass delivery tube by means of a length of india-rubber tubing1 and provide this latter with a small clip--tie-clip1 for example--so that the gas supply may be shut off at will 7,fig4 #aj74 ,let the hydrogen pass for a minute or so1 to clear air out of the clay pipe1 and then1 having shut off the gas1 dip the pipe bowl into soap-suds4 ,next open the clip until the hydrogen has blown the bubble large enough1 and then shut off1 shaking the shimmering globe free4 ,it will rise very quickly1 just like an unballasted balloon1 and if a lighted taper be applied to its surface it will explode to annihilation with a loud report4 ,illustration3 ,,fig4 #aj4--,to explode a soap bubble4 ,illustration3 ,,fig4 #aa4--;,freezing a flask of ammonia to a block of wood4 ,spirits of ,hartshorn4--,commercial ammonia is actually an aqueous solution of the gas1 which dissolves to an abnormal extent in water4 ,when it has been absorbed as much as possible the liquid weighs only #bb4be as much as an equal bulk of water1 owing1 of course1 to the latter's association with a compound far lighter than itself4 ,so great is the energy of solution that heat is dissipated from the liquid as absorption proceeds4 ,conversely1 if the gas be dispelled by blowing air through strong liquor ammoniac1 heat is rapidly absorbed at the expense of surrounding objects4 ,to show this1 stand a small flask in a pool of water on a wood block1 and having about half filled the flask with fresh ammonia1 blow into this through a glass tube connected with the mouth by a length of rubber tubing 7,fig4 #aa74 ,no long time should elapse before enough heat has been abstracted from the water to convert it into ice1 so that the flask is frozen firmly to the wood4 ,another demonstration of water's avidity for ammonia gas is afforded by the following performance4 ,erect one large flask 7,a7 in an inverted position1 so that the distance between its neck and the table is several inches greater than its own height4 ,some distance away1 as shown in ,fig4 #ab1 erect a small #d-oz4 flask 7,b71 and half fill it with a mixture of four parts sal-ammoniac to three parts slaked lime 7,c74 ,fit the neck with a cork and a delivery tube1 which has been so bent as to pass through a stopper in the mouth and reach nearly to the bottom of a jar 7,d7 packed with quicklime 7,e74 ,another glass tube 7,f7 issues from this chamber--but only from just below the cork's under surface--and passes upwards into the orifice of the large flask4 ,a square of paper 7,g1 in ,fig4 #ab7 is pushed over the glass tube and presses against the mouth of the flask4 ,illustration3 ,,fig4 #ab4--,to prove water's affection for ammonia4 ,if now the mixture in the #d-oz4 flask be warmed1 ammonia gas is produced1 and having been robbed of moisture by the quicklime through which it passes1 travels upwards1 and collects in the large inverted flask4 ,when the action has continued for a little while1 stop the heating and remove the delivery tube1 and bring an open spirits of salt bottle near the inverted flask's mouth4 ,if dense white fumes are immediately formed1 the flask is known to be filled with ammonia gas1 and must be corked up4 ,illustration3 ,,fig4 #ac4--;,a novel fountain4 ,beneath this container is next stood another large flask filled with red litmus solution 7,a7 and fitted with a stopper1 through which pass two glass tubes 7,m and ,n1 in ,fig4 #ac74 ,one of these 7,n7 is bent outwards1 and extends only just inside the flask's neck1 whilst the other is long enough to reach from the bottom of the lower flask almost to the top of that holding the ammonia4 ,instead of red litmus solution1 a liquid made by boiling red cabbage leaves in water1 and adding just enough vinegar to dispel entirely the bluish coloration1 may be used with equal success4 ,the position then is that two flasks--of which the upper 7,b7 holds ammonia gas1 whilst the lower retains a pink solution--are supported one above the other1 their necks approaching and joined by a glass tube 7,m74 ,a second glass tube 7,n7 also emerges from just above the surface of the pink liquid1 and is bent outwards from the flask1 so that it may be held in the mouth4 ,when this is blown through1 the pink water is forced up the connecting tube 7,m7 and sprays out1 fountain-like1 within the upper flask4 ,moreover1 as the ammonia is so rapidly absorbed by the incoming water1 this continually ascends to fill the vacuum1 which tends to form as the gas is dissolved4 ,the fountain continues to play when the blowing has ceased1 and further1 although the spray presents a reddish tinge on entering the flask1 it immediately turns blue as the ammonia dissolves 7,c1 ,fig4 #ac74 ,this reaction indicates the alkalinity of ammonia1 such substances being capable of neutralizing acids1 which redden solutions of vegetable blues4 ,,chapter ,,xxxviii ,,odd ,,experiments ,,to ,,while ,,away ,,winter ,,hours ,,the famous ,king ,belshazzar was much dismayed to see the mysterious writing upon the wall of his palace4 ,without reducing your friends to a similar state of terror1 a very easy experiment can be performed productive of the same effect1 and if it does not exactly make their knees strike together1 it will astonish them very much4 ,the appliances are such as can be found in any home1 and the strange writing can be produced in the following way4 ,illustration3 ,,fig4 #a4--,showing relative positions of candle and mirror so that patch of light is thrown on the wall4 ,at one end of a dark room erect a screen that shall conceal you and your apparatus effectually from the spectators4 ,upon a table behind this screen place a large mirror1 such as can be found upon any dressing-table4 ,put a lighted candle in front of this glass1 placing the latter at such an angle that a large patch of light is thrown upon the wall before you1 as in ,fig4 #a4 ,the screen must1 of course1 hide all this from the company1 who will see nothing but the light on the wall4 ,to write your message is now a very simple matter4 ,dip a coarse brush into some lamp-black water color1 and1 writing backwards1 inscribe what you wish upon the face of the mirror4 ,the message will then appear legibly upon the wall1 seemingly written by a mysterious hand4 ,by dipping the brush into clean water and washing out what you have written upon the glass1 the message on the wall will disappear as inexplicably as it appeared in the first place4 ,illustration3 ,,fig4 #b4--,thread passed round prongs of the bone4 ,illustration3 ,,fig4 #c4--,match through twisted thread4 ,a peculiar optical illusion is accomplished as follows4 ,the wishbone of a fowl or duck should be thoroughly cleaned1 and a thread passed several times around the prongs of the fork1 as shown in ,fig4 #b4 ,having secured the thread tightly1 pass a strong wooden match between the strands1 twisting it several times until the prongs of the bone have been drawn closer together 7,fig4 #c74 ,now1 pulling out the match sufficiently to allow of one end catching against the fork1 hold the bone firmly4 ,releasing the match it immediately describes a circle1 striking against the under part of the fork1 but so rapidly has it completed this revolution that the eye has been quite unable to follow it4 ,this causes an illusion that induces all who witness the experiment to imagine that the match passes through the fork of the bone at ,a4 ,but if the eye was too slow in the last experiment1 it is so officious in what is next to be described that it sees something which really does not take place4 ,illustration3 ,,fig4 #d4--,the lion and his cage4 ,draw a lion and a cage1 as in ,fig4 #d4 ,if you place a visiting card upon the line ,a ,b1 and put your face so near that the right eye looks upon the lion whilst the left can see only the cage1 you will observe the lion walking into his cage as naturally as if he were at the ,zoo6 ,a rather amusing experiment1 and one which will afford immense pleasure to the juvenile members of your party1 is as follows3-- ,cut a circular disc of stout cardboard #ab in diameter4 ,in the center make a hole to allow the disc to revolve easily1 but not loosely1 upon a wooden penholder1 which should be fixed at right angles to a wooden stick 7,fig4 #e74 ,illustration3 ,,fig4 #e4--;,disc of cardboard kept in place with penholder4 ,illustration3 ,,fig4 #f4--,showing box in correct position4 ,upon the center of the disc fasten a cylindrical cardboard box 7,a1 ,fig4 #f71 with the penholder passing right through it4 ,this box should be roughly #c high and #b in diameter4 ,at a radius of #d from the center describe a semicircle upon the disc at ,e ,f 7,fig4 #f71 whilst upon the same half of the cylinder describe a line as ,g ,h in the same figure4 ,now pierce about twenty-five equidistant holes in ,e ,f and ,g ,h1 joining them with thread1 as in ,fig4 #g4 ,cover these threads with little strips of paper in such a manner as to make a plane surface1 as shown in ,fig4 #h4 ,then fasten a cork upon the end of a wire attached to the stick1 and in a cleft in this cork put a little cardboard figure as in the illustration4 ,make the disc revolve by a rapid turn of the hand1 and if a candle be so placed as to cast the shadow of the little man upon the disc1 he will be seen engaged in making sundry passes and lunges in the manner of the perfect fencer4 ,illustration3 ,,fig4 #g4--,mode of joining thread4 ,illustration3 ,,fig4 #h4--,the toy complete4 ,various other figures can be made in a similar way with great success1 and when cleverly managed the toy will be found most amusing4 ,,life ,,partners ,if at any time it should happen that an engaged couple are amongst the friends whom you wish to entertain1 a very simple piece of apparatus can be made that will give these good people much pleasure4 ,in the four sides of a cube box1 measuring #ah each way1 make an oval opening1 #i by #g1 as ,a1 ,b1 ,c1 ,d in ,fig4 #i4 ,inside the box place two mirrors1 back to back1 diagonally from ,g to ,e 7,fig4 #aj71 and contrive four curtains to draw up simultaneously over the holes4 ,illustration3 ,,fig4 #i4--,showing box with oval openings4 ,illustration3 ,,fig4 #aj4--,showing box with oval openings and mirrors4 ,you must now get two couples to look through the holes1 arranging the two men opposite each other1 as at ,a and ,c1 and the ladies at ,b and ,d1 promising them that by looking into the simple but magical box they shall see the future partners of their lives and pleasures4 ,as soon as they are in position raise the curtains1 when ,a will see ,b1 and ,c will be gazing at ,d1 so that if you have sorted the parties aright1 they will feel so pleased with themselves and with you that no inquiry will be made as to how the trick is done4 ,to turn from sight to hearing1 the following is a simple experiment which can be exhibited without any special apparatus4 ,cut a plain cross from a sheet of notepaper1 as in ,fig4 #aa1 and place it over a wine-glass1 bending the ends to prevent it slipping off4 ,almost fill the glass with water1 taking great care to leave the sides and rim perfectly dry4 ,if you damp your finger and pass it over any part of the glass outside1 a distinct humming will be heard1 but the more remarkable thing to observe is that the cross will begin to revolve very slowly so long as your finger rubs a portion of the glass between the arms of the cross--as at ,a in ,fig4 #aa4 ,yet when you begin to rub beneath one of the arms the paper will remain perfectly still4 ,a complete revolution of the paper can be produced by rubbing round the glass in a circle4 ,illustration3 ,,fig4 #aa4--,showing paper cross and glass almost filled with water and cross placed over the top4 ,the vibration of the glass when emitting the notes explains this phenomenon1 although the reason that the cross should remain still when you rub beneath one of its arms is too technical for explanation here4 ,illustration3 ,,fig4 #ab4--;,a 8light0 experiment4 ,a ,,light ,,experiment ,why do we wear white clothes in extreme heat and dark clothes in the winter8 ,to this question every one will answer that white clothes absorb less heat than black1 and that we therefore feel the rays of the sun less4 ,quite true2 and yet1 how is it that ,polar bears and other ,arctic creatures exposed to such extreme cold are clothed in white8 ,the fact is that not only does white absorb less heat1 but it serves to retain heat1 and a white coat preserves the natural warmth in the animal's body4 ,this is exemplified by the following experiment1 for which only a tumbler is required4 ,choose a glass with the lower part faced1 as in ,fig4 #ab4 ,color these faces black and white alternately1 a little ,india ink serving for the former and some crushed chalk and water for the latter4 ,with a very small knob of wax fasten a pin to each face1 as shown in the figure4 ,having done this place a lighted candle within the glass4 ,the heat1 striking the interior equally1 is modified by the colors painted on the outside to such an extent that after some little while the wax supporting the pins of the ,,black faces is melted1 whilst the pins on the white parts remain unaffected4 ,this shows very clearly that the white prevents the escape of internal heat1 as surely as it prevents the penetration of external warmth4 ,,the ,,pyrometer ,we all know that metals expand under heat4 ,the amount of such expansion may be measured by a simple little apparatus called a pyrometer4 ,illustration3 ,,fig4 #ac4--,showing how to make a pyrometer4 ,on a wooden base1 ,b1 ,c 7,fig4 #ac71 make two uprights1 ,a and ,d1 of which ,a must be a half inch higher than ,d4 ,bore a hole a quarter of an inch from the top of ,a1 but not right through the wood4 ,a couple of pins must be bent into the shape of a ,y and driven into the top of ,d1 as in ,fig4 #ac4 ,with a little sealing-wax fasten a paper pointer to the eye end of a needle and lay the needle across the pins1 ,p1 ,p 7,fig4 #ad74 ,next place an ordinary knitting-needle in the hole at ,a1 and rest it over the small needle with the pointer4 ,the pyrometer is now complete4 ,put a lighted candle under the knitting-needle between ,d and ,a1 as in the figure1 taking care that the flame plays freely upon the needle4 ,as the latter grows hot you will notice that the pointer moves slowly from left to right1 being acted upon by the hot knitting-needle passing over the axle at ,x4 ,illustration3 ,,fig4 #ad4--,showing needle laid in position across pins4 ,if a small paper dial be made against the pointer1 the amount of the expansion can be even more clearly observed4 ,of course two or even more candles may be used1 the result being that the needle shows more and more expansion as it becomes hotter4 ,,the ,,broken ,,bottle ,an interesting and useful experiment with a broken bottle is depicted in ,fig4 #ae4 ,fill the broken piece with oil to whatever level you desire it to be cut1 and stand it upon a perfectly level table4 ,now plunge a red-hot poker into the oil and hold it there for a few seconds1 when there will be a loud crack1 and the top of the broken part will come off1 even and smooth1 as in ,fig4 #af4 ,illustration3 ,,fig4 #ae4--,portion of broken bottle for experiment4 ,illustration3 ,,fig4 #af4--,showing smooth break after red-hot poker has been plunged into the oil4 ,it may not be generally known that a sheet of glass may be cut regularly and evenly with a pair of strong scissors4 ,a glance at ,fig4 #ag will give an idea of how this is done4 ,the apparatus required is a large pail of cold water and a pair of strong scissors4 ,plunge the glass1 the scissors1 and the hands1 right into the water so that no part of either scissors or glass escapes immersion4 ,you will now find that the scissors cut cleanly without the glass cracking or splintering4 ,the reason for this is that the water deadens the vibrations both of the scissors and the glass1 thus insuring a neat and clean fracture4 ,illustration3 ,,fig4 #ag4--;,a glass-cutting experiment4 ,,compressed ,,air ,an interesting and effective experiment may be performed with compressed air4 ,the arrangements are very simple and the requirements few4 ,illustration3 ,,fig4 #ah4--,walnut shell with necessary holes bored4 ,divide a walnut shell into two1 and bore a hole in the bottom of each half4 ,in one of the cups thus obtained make another hole half-way up the side1 as in ,fig4 #ah4 ,now1 with a little sealing-wax fasten three straws into these holes4 ,in the cork of a fair-sized jar1 which should be of some opaque glass1 bore two holes1 through which the straws must be placed at unequal heights1 as shown in ,fig4 #ai4 ,having almost filled the jar with clear water1 place the cork with the straws so tightly that no air can possibly enter either at the sides or by any other means than through the straws4 ,the following strange effect will now be obtained4 ,pouring some colored liquid into the top shell ,a1 plain clear water will come from the spout ,c of the lower shell ,b1 and will continue as long as you pour from above 7,fig4 #bj74 ,the reason of this is that the compressed air in the jar forces the clear water through the straw at ,b1 which1 being plunged deep into the clear liquid1 carries off none of the colored matter passed into the jar by means of ,a4 ,illustration3 ,,fig4 #ai4--,showing positions of straws for experiment4 ,illustration3 ,,fig4 #bj4--,pouring the colored liquid into the top shell4 ,this experiment may be performed with red wine and water1 but the result is not quite so satisfactory on account of the ease with which wine and water mix4 ,,chapter ,,xxxix ,,more ,,experiments ,,tips ,,and ,,dodges ,,for ,,the ,,winter ,,evenings ,,the ,,refractory ,,cork ,a ,,very interesting and amusing experiment may be performed with a bottle and a cork4 ,take a cork of a diameter less than the internal diameter of the neck of the bottle you propose using1 and ask a friend to make it enter the bottle by blowing upon it4 ,at first sight this seems a very easy task1 and your friend at once proceeds to blow strongly upon the cork4 ,this1 however1 instead of making the cork enter the bottle1 causes it to fly out4 ,again your friend tries to overcome the troublesome cork1 on the next occasion by blowing very gently1 but again it flies out 7,fig4 #a74 ,the explanation of this is as follows3-- ,in blowing upon the cork1 a certain amount of air at the same time enters the bottle1 the air in which becomes so compressed that it rapidly ejects the cork4 ,there are1 however1 three ways in which the refractory cork may be overcome4 ,illustration3 ,,fig4 #a4--,the refractory cork4 ,since you know that by blowing on the cork it is at once ejected1 try to achieve success by performing the contrary action--that is1 by withdrawing some of the air from the bottle4 ,indeed1 the experiment will prove to you that1 by so doing1 you create in the bottle a partial vacuum1 and as soon as your mouth leaves the neck of the bottle air enters it owing to atmospheric pressure4 ,this incoming current of air pulls with it the cork1 which at once slides into the aperture4 ,the same result may also be achieved by first warming the bottle1 when1 owing to the expansion of the air1 a part of it is expelled4 ,directly the air inside the bottle cools1 a vacuum is created1 and a current of air from without enters4 ,if you add to this current of air by blowing air from your mouth1 you will find this quite sufficient to cause the cork to enter the bottle4 ,then1 again1 having a straw or a pipe-stem handy1 all you have to do is to blow through the tube1 directing the air exactly on the base of the cork1 which will once again enter the aperture4 ,whichever of these means is adopted1 you must always take the precaution of seeing that the bottle is perfectly dry4 ,it should be wiped every time4 ,the moisture formed in the neck is sufficient to prevent the cork from gliding along the glass4 ,,the ,,flying ,,coin ,you may be inclined to think that special apparatus is necessary to make a coin fly from the bottom of a glass1 but here is shown a very simple method by which the trick may be performed at any moment in your home4 ,first procure a liqueur glass of conical shape1 having in its largest part a diameter not much greater than that of a silver dollar4 ,at the bottom of this glass place a quarter1 and above it1 near the top of the glass1 a silver dollar1 the latter forming a kind of cover 7,a1 ,fig4 #b74 ,now declare to your friends that1 without touching the dollar1 you will make the quarter jump from the glass4 ,illustration3 ,,fig4 #b4--,the flying coin4 ,this at first seems to them an impossibility1 but all you have to do is to blow very strongly on the edge of the dollar4 ,this will make the larger coin turn about on its own diameter into a vertical position1 whilst the compressed air under the quarter causes the latter to fly out of the glass1 after which the dollar returns to its original horizontal position4 ,a ,,cigarette-,,smoking ,,lamp-,,glass ,this is a very striking experiment1 and is quite easy to perform4 ,the apparatus is also quite simple1 and may be easily obtained4 ,it consists of a lamp-chimney1 a cork1 a cigarette1 together with two little valves4 ,illustration3 ,,fig4 #c4--,the self-smoking cigarette4 ,tightly cork up one end of the lamp-chimney with a large cork1 thus hermetically sealing it4 ,in this cork bore two holes1 one following the line of the cork's axis and having exactly the same diameter as the cigarette3 the other being oblique with respect to this axis1 and having a much smaller diameter 7,fig4 #c74 ,illustration3 ,,fig4 #d4--,the self-smoking cigarette4 ,it is now necessary to make the valves4 ,this is done by cutting from a glove two round pieces of the skin or leather1 which1 by means of pins1 may be fixed over the holes1 one being above the little hole on the top of the cork1 the other over the large hole on the under side of the cork4 ,the first valve allows the smoke to escape1 at the same time preventing the entrance of any external air1 whilst the lower valve allows the smoke from the cigarette to enter the glass tube1 but will not allow it to escape by the same hole4 ,having thus made the valves1 next plunge the tube in the water as far as the cork1 and place the cigarette in the hole made for it4 ,after having lit it1 proceed to make the lamp-chimney smoke it4 ,in order that it may inhale the smoke1 slowly raise the glass4 ,by so doing a vacuum is produced between the surface of the water and the bottom of the cork4 ,to destroy this vacuum1 air must enter from without1 and the only means of its entrance is through the cigarette1 as the valve on the top of the cork remains tightly closed4 ,in passing through the cigarette this current of air greatly assists combustion1 and the smoke formed will pass with the air into the lamp-chimney4 ,if now the glass be lowered again1 the air which is compressed by so doing closes the central valve1 whilst that above the oblique tube is opened4 ,from this valve the smoke will ascend in clouds 7,fig4 #d74 ,in this way the glass may be made to smoke the whole cigarette4 ,,water ,,swinging ,nearly every one has seen1 at the circus or elsewhere1 an acrobat executing giddy circular movements with a glass of water1 and doubtless has wondered how it is that none of the liquid is spilt4 ,this is due to the action of centrifugal force4 ,having placed the glass full of water on the table1 it is only a matter of taking it properly with the hand1 holding it at arm's length1 and1 with the arm thus extended1 describing a complete circle1 after which it may be placed upon the table without the loss of a single drop4 ,to insure the success of the experiment1 particular attention must be paid to the manner in which the glass is held4 ,instead of taking it as you would when drinking1 hold it with the hand reversed1 the palm being turned upwards1 as shown in ,fig4 #e4 ,illustration3 ,,fig4 #e4--;,centrifugal force experiment4 ,first position4 ,without hesitation throw the arm in the air1 and swing it1 not too quickly1 but without shaking it1 in the direction of the arrows in the diagram 7,fig4 #f74 ,illustration3 ,,fig4 #f4--,swinging the glass4 ,illustration3 ,,fig4 #g4--,the action completed4 ,after one complete revolution the glass should be as shown by ,fig4 #g2 whilst in this position it may be placed on the table4 ,at first it is advisable to practice this experiment with water1 but1 as more skill is acquired1 other liquids1 such as milk or wine1 may be used as occasion permits4 ,illustration3 ,,fig4 #h4--,the spoon mirror4 ,a ,,novel ,,mirror ,a simple method of illuminating the back of the mouth and throat1 especially when throat trouble is suspected1 may often be found extremely useful4 ,here is a means of supplying1 at a moment's notice1 an extemporized illuminant of this kind4 ,take a well-cleaned spoon1 and hold it against a candle flame1 when you form an excellent mirror1 which will permit you to concentrate the rays of light and produce at the back of the throat enough illumination for the making of a careful examination 7,fig4 #h74 ,a silver spoon1 moreover1 allows you to study the curious properties of curved mirrors4 ,holding the hollow part of the spoon before your face1 notice that the head is at the bottom2 turn the spoon round1 and you have the bulging part a convex mirror1 which will show an image1 very long and narrow4 ,if you approach this face in the spoon little by little1 you will see the nose attain the most amusing proportions4 ,a ,,disappearing ,,coin ,if you look at an object which has been placed in water1 owing to the phenomenon of refraction1 the article appears in a different position from that in which it really is4 ,it is due to this phenomenon1 therefore1 that a stick1 when half plunged into water1 seems to be bent or broken4 ,a very interesting experiment based on this principle is the following3-- ,take a bowl full of water1 and at the bottom place a coin4 ,next request one of your friends to lower his head until his eye1 the edge of the bowl1 and the near edge of the cent1 appear to be in the same line4 ,as a matter of fact1 it is not the coin itself that your friend can see1 but only the image created by refraction4 ,now1 keeping your friend in the same position1 inform him that you intend to make the coin disappear from his view4 ,to do this1 remove some of the water from the bowl1 which may be accomplished by means of a small syringe 7,fig4 #i74 ,illustration3 ,,fig4 #i4--,the disappearing coin4 ,directly you lower the level of the water1 your friend will no longer be able to see the image of the coin1 which will be hidden by the side of the bowl4 ,if1 however1 the extracted water be replaced1 the image of the coin immediately reappears4 ,,electrified ,,paper ,very few people realize that paper can be electrified at a moment's notice1 no special apparatus for the purpose being required4 ,take a piece of light paper1 which should have been well dried1 and rub it briskly with a clothes brush1 silk handkerchief1 or even the open hand4 ,after a little time the paper1 becoming electrified1 will adhere to your face1 your hands1 or your clothes1 as easily as if it were attached by means of gum4 ,nor is this property confined to thin paper4 ,thick paper1 when dried1 will act in the same manner4 ,for instance1 take a postcard1 dry it1 and rub it1 and you will notice that1 as is the case with sealing-wax1 glass1 sulphur1 c41 the card has the power of attracting light bodies1 such as small pieces of cork4 ,the following interesting experiment may be carried out with an electrified postcard and a walking-stick4 ,balance the walking-stick over the back of a chair1 and announce that you can make the stick fall without touching it1 without blowing it1 or without interfering with the chair4 ,this is easily possible by utilizing the electrified postcard4 ,illustration3 ,,fig4 #aj4--,the electrified postcard4 ,first rub it on the sleeve of your coat4 ,now hold it near one end of the stick1 and you will notice that the latter follows it as iron follows a magnet 7,fig4 #aj71 until the moment when the equilibrium being destroyed1 the stick falls to the ground4 ,of course the experiment may be varied by using any other suitable article in place of the stick1 as for instance a fishing-rod4 ,,electrified ,,balloons ,from the last experiment it may have been gathered that if a piece of paper is dried and rubbed with a silk handkerchief or the dry hand it will adhere to the face1 arms1 or clothing4 ,it may not be so widely known1 however1 that if toy balloons be filled with air1 and then stroked for a short time with a piece of fur1 they will act in the same way as the electrified paper4 ,it is rather amusing to see these balloons1 after being treated thus1 placed against the wall or ceiling1 where they will stick as if they were glued there4 ,illustration3 ,,fig4 #aa4--,the electrified balloons4 ,having entertained your friends in this manner1 you may1 by way of a little change1 take two of these toy balloons1 and1 after having electrified them1 suspend them from the same point by means of two silken threads4 ,you will be surprised to find that the balloons now repel each other in the same manner as pith balls do 7,fig4 #aa74 ,,exploding ,,flour ,flour will create an explosion6 ,take a large handful of flour1 and leave it for some time near the fire1 in order that every trace of dampness may be expelled4 ,whilst the flour is drying take a large tin box 7a cracker tin will do admirably71 and near the bottom make a small hole4 ,through this hole pass the end of a piece of india-rubber tubing1 and place the handful of dry flour in front of it4 ,at the other end of the box place a short piece of candle1 and after lighting it1 cover the box with the lid1 taking care that it is not too firmly fixed4 ,if you now blow down the tube with your mouth1 or better still1 with a pair of bellows an explosion at once takes place1 as a result of which the lid will be blown off 7,fig4 #ab74 ,illustration3 ,,fig4 #ab4--;,exploding flour4 ,if flour be not available the experiment may be performed with equal success by using fine dust1 such as may be found on the backs of pictures1 or collected from any elevated parts of the room4 ,,the ,,apparently ,,impossible ,have you ever had tea on the top of a mountain8 ,if so1 you will agree that your cup of tea could by no means be termed excellent4 ,now1 why is it that a cup of tea made on a mountain-top is much inferior to one made at a lower level8 ,if the fault lay in the tea1 the defect could be easily remedied1 but such is not the case1 for it depends upon the fact that water on the top of a mountain boils at a lower temperature than water at the sea-level4 ,in order to make a good cup of tea1 the water must boil at a temperature very near #ajj ,c41 and it is at this temperature that the water is generally boiled in your homes4 ,why is it1 then1 that water boils at different temperatures at different altitudes8 ,it is because1 as the altitude is increased1 so the atmospheric pressure becomes less4 ,at sea-level1 atmospheric pressure is equal to about #ae lbs4 to the square inch1 but at the top of a mountain it is much less4 ,the greater the atmospheric pressure the more heat is required before the bubbles of vapor formed within the water can break at the surface4 ,after this explanation1 perhaps the subjoined experiment will be attempted with additional interest4 ,take a flask1 to which should be fitted a good cork or india-rubber stopper1 and in it boil some water1 taking care of course to remove the stopper beforehand4 ,after some minutes the steam from the boiling water will have expelled all the air from the flask4 ,now remove the source of heat1 at the same time quickly inserting the stopper4 ,if the flask is allowed to stand for a minute or two1 the temperature of the water will fall considerably below #ajj ,c4 ,next inform your friends that1 without applying any extra heat1 you will cause the water in the flask to boil vigorously again4 ,this seems to them impossible1 especially when you tell them that you are going to do it by means of cold water4 ,quickly turn the glass upside down1 and squeeze a sponge soaked in cold water on its upturned under-surface4 ,immediately the liquid inside will begin to boil1 as if extra heat had been applied 7,fig4 #ac74 ,illustration3 ,,fig4 #ac4--;,a curious boiling experiment4 ,but how are you to explain this apparently extraordinary phenomenon8 ,well1 directly the cold water comes in contact with the flask it causes the steam contained therein to condense1 and1 as no air can enter1 thanks to the well-fitting cork1 the pressure on the surface of the warm water is now considerably less than it was before4 ,directly the pressure is lessened the vapor bubbles contained within the warm water are able to rise to the surface1 and the water is seen to boil merrily4 ,,making ,,coal ,,gas ,here is a very simple way of obtaining coal gas4 ,procure an ordinary long clay tobacco pipe1 the bowl of which should be filled with very small pieces of coal4 ,carefully cover the top with soft clay1 and put the bowl in the fire1 with the long stem protruding through the bars4 ,now watch this end of the pipe very closely and see what happens4 ,illustration3 ,,fig4 #ad4--,simple gas-making4 ,very soon you will notice a light-colored smoke issuing from the mouthpiece1 but after a time this smoke disappears4 ,but what happens if you hold a lighted match to the mouthpiece of the pipe8 ,immediately a bright yellow flame appears 7,fig4 #ad74 ,the gas now burning is the same gas as is burnt in your house1 although this latter1 of course1 is much purer4 ,if now you take the pipe from the fire1 allow it to cool and then break it1 you will be surprised to find that its contents have changed in appearance1 for1 in place of the coal1 you will see what looks like a cinder4 ,this is the coke4 ,thus you have manufactured gas from coal1 at the same time producing coke4 ,,experiments ,,with ,,carbonic ,,acid ,,gas ,in a previous chapter1 when describing how to make a miniature cannon1 it was explained that the 8gunpowder0 with which the 8shell0 was fired is in reality carbonic acid gas4 ,it may not be amiss to show how to generate it1 in order that you may discover for yourselves some of its properties4 ,there are several ways of obtaining carbonic acid gas1 but most of these are of a complicated nature4 ,the following1 however1 is an extremely simple method4 ,take a #f-oz4 or #h-oz4 flask1 and fit it with a cork with a hole1 in which may be fitted a piece of glass tubing4 ,this tubing should be bent twice at right angles1 as shown in ,fig4 #ae1 and the longer end should be allowed to dip into a large glass4 ,illustration3 ,,fig4 #ae4--;,a carbonic acid gas experiment4 ,into the flask pour a little lemonade1 soda water or ginger ale1 and after replacing the cork or tube1 heat the flask by means of a gas-burner or spirit lamp4 ,you will notice that bubbles of gas are given off1 and1 as this gas is considerably heavier than air1 it will1 after being forced up the tube1 displace the air in the glass1 and gradually fill it4 ,to test whether the glass is full1 hold a match in the top4 ,if the match is extinguished1 the glass which is full may be removed4 ,in this way several glasses can be filled1 care being taken to cover each with a glass plate or cardboard disc to prevent diffusion4 ,from this experiment you will have discovered the three main properties of this gas 7commonly known as carbon dioxide7--that it is colorless1 is considerably heavier than air1 and will not support combustion4 ,its high density affords another interesting experiment1 which consists of pouring the gas from one glass to another 7,fig4 #af74 ,illustration3 ,,fig4 #af4--,pouring carbon dioxide from one glass to another4 ,take two glasses1 one full of air and the other containing the carbonic acid gas1 and into each plunge a lighted match4 ,the match of course will burn in the glass containing air1 whilst it will be immediately extinguished when it comes in contact with the carbon dioxide4 ,you have thus clearly shown which glass contains air and which contains the gas4 ,now take the glass containing the gas and pour its contents into the other glass1 in exactly the same way as you would pour in water4 ,again test with a lighted match and you will find that the gas has passed from one glass to another1 thus proving that it is much heavier than air4 ,next take two glasses1 one containing air and the other carbonic acid gas1 and1 by means of a clay pipe1 blow a soap bubble into each1 carefully watching the different manners in which they behave4 ,that dropped into the glass containing air will sink to the bottom1 where1 coming in contact with the glass1 it will burst4 ,the other bubble1 however1 as soon as it reaches the gas in the glass1 rebounds owing to the high density of the carbon dioxide1 but after a time1 when it has settled down1 it will float motionless on the surface 7,fig4 #ag74 ,illustration3 ,,fig4 #ag4--,soap bubbles in ,a 7air71 and ,b1 carbon dioxide4 ,before you finish experimenting you should know how to detect the presence of carbon dioxide4 ,take a little lime water1 which may be obtained from any druggist1 and pour it into a glass containing carbon dioxide4 ,shake the glass1 and carefully observe the change which takes place4 ,the lime water1 which was previously colorless1 has assumed a certain milkiness1 and if allowed to stand the white powder causing this milkiness will settle at the bottom of the glass4 ,this powder proves to be calcium carbonate1 or chalk1 which is always formed when lime water comes in contact with carbon dioxide1 so that you have here a means of detecting the presence of carbon dioxide4 ,breathe into a little lime water and you will learn1 from the milky appearance it at once assumes1 that the air we exhale contains a certain quantity of this interesting gas4 ,,chapter ,,xl ,,photo ,,pastimes ,,camera ,,knights' ,,experiments ,,it has been presumed in commencing these notes that most would-be experimenters already possess a camera1 or will at least shortly do so4 ,thus the greater number of experiments are such as would interest a camera fiend more deeply than the ordinary reader1 although the latter might still derive much enjoyment from conducting them so far as the lack of a 8dark box0 will allow him4 ,it will perhaps be as well to spend a paragraph at the outset in describing simply and noting a few peculiarities about the commonplace camera4 ,photography means drawing by the agency of light4 ,now light is reflected from an illuminated object in straight lines or rays1 of which a proportion may be collected by a lens and thrown in points upon a surface behind4 7,see ,fig4 #a1 ,a1 illuminated object2 ,b1 lens2 ,c1 surface behind lens2 ,d1 rays of light thrown upon surface ,c47 ,illustration3 ,,fig4 #a4--,rays of light collected by lens and thrown upon surface behind4 ,the front of a camera contains the lens1 and is provided with a movable shutter1 so that light may be only allowed to enter the dark box when a picture is to be taken on one of the sensitive plates inside4 ,according to ,fig4 #b--which represents a camera in position to photograph the object ,a--the light is reflected in rays1 which are collected in myriads of groups and cast pointed upon the surface of the sensitized plate ,b4 ,such ray groups--being parallel when they leave the object and pointed after passing the lens--are termed pencils of light1 a most applicable name when they are employed in 8sketching0 a portrait on the photographic plate4 ,illustration3 ,,fig4 #b4--;,camera in position to photograph object ,a4 ,it will be seen that the action of the lens causes the base of the object to be registered upon the top of the plate1 and vice versa--i4e4 the picture is taken upside down4 ,another noticeable feature about the magazine box camera1 which does not1 however1 apply to the focussing camera with bellows1 is that it may not be placed nearer than a certain distance 7usually #aj feet or thereabouts7 to the object photographed1 or else the picture obtained will be blurred4 ,the remembrance of this simple fact will save the loss of many plates to the tyro4 ,finally a last note remains to be taken of the 8stops40 ,these are really various sized holes in a metal screen1 any one of which may be placed at will before the lens1 and by the use of which the sharpness or distinctness of the photograph may be improved4 ,thus a lens at full aperture will not give such a sharp picture as would be obtained if a small hole were used1 but1 as the amount of light permitted to pass in the latter case is much diminished1 a longer exposure must be given4 ,consequently when a short-timed snapshot is being secured1 the largest practicable aperture or stop should be employed1 even though the sharpness of the picture be thereby to some extent sacrificed4 ,having thus briefly reviewed the essential features of a camera1 arrangements may be made for conducting our first experiment4 ,experiment ,a4--,a ,,fireside ,,photo ,probably no souvenir can give greater pleasure to the amateur photographer1 or prove more acceptable to his bosom chums1 than their portrait1 as a fireside group1 lighted by the glow from a genial fire4 ,nor is this difficult of attainment4 ,first the figures should be grouped seated on chairs--and perhaps some standing behind1 if many faces are to be included--in a quarter circle from one chimney-corner1 whilst the camera may be securely placed some #i or #aj feet away1 about the position shown at ,x in ,fig4 #c4 ,illustration3 ,,fig4 #c4--,relative positions of camera and sitters for a fireside photo4 ,next some shade like a small fire-screen must be placed between the blaze and the camera1 in order to protect the sensitized plate from the full glare of the firelight4 ,now of course the photograph is not actually secured by the coal flame illumination1 which would not be bright enough to give proper exposure1 so recourse is had to dropping some material into the fire which will burn rapidly with a bright white flame4 ,magnesium powder is generally used for this purpose4 ,supposing the group to have been arranged and the camera firmly in position1 the person 7,b1 in ,fig4 #c7 seated next the grate should hold a tablespoonful of saltpeter and also a square inch or so of sheet zinc4 ,then1 all being so far ready1 let the outside member of the group 7marked ,a in ,fig4 #c7 open the camera shutter and slip back to his seat1 whilst the flashlight operator drops the saltpeter and zinc successively among the glowing coals4 ,the flame of dazzling brilliancy which results records the sitters' figures on the plate1 so that directly it is over1 the person 7,a7 may again visit the camera and close the shutter4 ,his movements will not be noticeable1 since they are made before and after the flashlight4 ,the operation of development may be proceeded with at once and should go fairly easily1 but flashlight exposures are difficult to estimate accurately1 and therefore1 although a square inch of zinc has sufficed for a small group with stop and an extra rapid plate1 this amount may have to be increased if the group be large or if other conditions be changed4 ,one last hint as to behavior of the sitters4 ,let them sit as naturally and quietly as possible1 but be advised to blink their eyes as much as the bright light prompts them rather than keep them staring wide open1 when their faces must wear a most inane expression in the finished photo4 ,experiments ,b4--8,,photo-,,chemical0 ,salts of silver form the basis of most modern photographic processes4 ,thus in order to perform chemical experiments of a photographic nature1 some solution of silver must be available1 the nitrate salt being usually employed4 ,illustration3 ,,fig4 #d4--,silver solution and precipitate4 ,it is best procured at the druggist's in solution or as crystals1 in which latter case it must be dissolved for use in clean rain or distilled water4 ,the solution need be only weak1 but must be kept in a dark bottle screened from daylight4 ,chemical test-tubes1 if they can be obtained1 will be found best for the experiments4 7#a7 ,prepare a weak solution of table salt1 and add it drop by drop to a little of the silver nitrate in a test tube 7or wine-glass as a makeshift74 ,a white sediment is precipitated1 which1 by shading part of the tube with a band of paper and exposing to daylight1 may be shown to be sensitive to light1 inasmuch as the unscreened part will rapidly turn purple4 ,this precipitate consists of silver chloride1 which1 in combination with unaltered nitrate1 forms the essential ingredient of printing paper4 ,in ,fig4 #d1 ,a is ,solution2 ,b1 ,precipitate2 ,c1 ,band of ,paper4 7#b7 ,photographic plates are coated with bromide of silver1 a yellow substance1 which may be prepared similarly to the previous precipitate by adding potassium bromide solution 7instead of table salt7 to the nitrate of silver4 ,its appearance does not change rapidly under the influence of light1 but if first exposed and then treated with a developing solution the yellow color very soon changes to black--finely divided metallic silver being1 in fact1 produced4 ,actually1 light more readily alters the constitution of the bromide than that of the white chloride1 but the former knows better how to preserve an outward appearance of composure4 7#c7 ,suppose1 now1 another solution be made1 this time of the fixing salt known familiarly to every camera knight as 8,hypo40 ,when this is added to either the white chloride or yellow bromide precipitates above noticed1 they gradually dissolve away1 except such portions as have changed color under the influence of light4 ,such action constitutes the process of fixing a photograph1 whereby the sensitive silver compound is removed from those parts of the paper or plate which have more or less escaped the influence of light4 7#d7 ,this experiment is an aquatic performance in which one actor only--our old acquaintance ,hypo--takes part4 ,provided proper care be taken in the preparatory stages1 it will afford at the climax as excellent a spectacle as many another more complex4 ,illustration3 ,,fig4 #e4--,preparing saturated solution4 ,illustration3 ,,fig4 #f4--;,grooved cork for 8dripping0 solutions4 ,a tumbler glass full of saturated solution has first to be prepared1 and this is best done by tying about lb4 of ,hypo in a piece of muslin1 so that it may be held against the rim of the glass and allowed to hang in hot water after the manner of ,fig4 #e4 ,when an appreciable quantity of the salt has dissolved1 the liquid being but lukewarm1 the muslin bag may be removed and the solution stirred gently4 ,then it must be stood somewhere firm1 and allowed to remain absolutely undisturbed until cold4 ,there should then be a glass full of clear liquid1 and the phenomenon is at hand4 ,let the smallest crystal of solid ,hypo be dropped in this liquid1 or let it but be disturbed1 and behold6 a wonderful transformation proceeds1 until the glass interior becomes a shimmering mass of sparkling crystals4 ,the reason of this curious behavior is not far to seek4 ,hypo1 in common with most chemicals1 dissolves to a greater extent in hot water than in cold1 but is different1 inasmuch as the excess of salt does not settle out as the solution becomes cold4 ,cold solution is therefore really over-saturated1 and to such an extent that only an extra crystal or the least disturbance is sufficient to upset the delicate balance1 upon which climax the great excess of ,hypo soon settles out4 7#e7 ,this is another reaction in which ,hypo takes part1 but one other substance is required as well1 viz4 permanganate of potash4 ,condy's fluid is equally suitable1 and in either case the solution need only be weak--just a transparent deep pink color4 ,the vessel containing this permanganate may be about half full4 ,when ,hypo solution is gradually dripped into this and the mixture stirred1 the color is immediately dispelled1 leaving the liquid clear as water4 ,inasmuch as every photographer knows the necessity for washing his prints until all fixing salt is removed1 this decoloring action may be fully employed in testing the washing water occasionally4 ,when it no longer affects the tint of a pink permanganate solution he may rest assured that the deleterious ,hypo--like some friends in being welcome so they stop not too long--has really departed4 ,for the ready performance of this experiment it may be noted that any solution can most easily be 8dropped in drips0 from a bottle whose cork is cut grooved at both sides 7,fig4 #f74 ,illustration3 ,,fig4 #g4--,sensitizing blue-print paper4 ,experiment ,c4--,,blue ,,print ,,paper ,engineers' drawings have for many years past been copied upon ferro-prussiate1 or 8blue print0 paper4 ,the original design being made in opaque ink upon tracing linen1 a sheet of the sensitive paper is held against this in strong daylight until blue coloration has advanced everywhere except beneath the ink lines of the drawing4 ,these remain yellow1 or rather white1 when finished1 as the excess of sensitive salt is removed by washing4 ,since this last operation is in itself all-sufficient to insure permanency1 the simplicity is unique4 ,in fact1 the impossibilty of securing other colors than blue has been the only factor to exclude this process from far wider use4 ,the preparation of the sensitive surface presents no great difficulties1 provided a drawing-paper of good quality be used4 ,it should be cut into strips about #f inches wide1 which are passed one by one up and down 7see ,fig4 #g7 through a dish containing the following solution3 #a oz4 ferri-cyanide of potash #d oz4 water1 added to #a oz4 ammonio-citrate of iron #d oz4 water4 7,note--#d oz4 water nearly pint47 ,this must be done in very dull light--candle or paraffin oil by preference--and the wet paper pinned up to dry in a dark cupboard1 hanging from the edge of a shelf or other projecting support4 ,then it may be cut into pieces of the required size and stored with a wrapping of tissue and brown paper in a handy box4 ,all manner of designs may be produced on this paper1 such for example as fern leaves1 lace1 and embroidery4 ,actual sea-view photos or imitation moonlight views also look very well indeed4 ,another notion is to secure the copy of some picture printed in black on thin paper1 which has been oiled and dried in order to render it translucent for quicker printing4 ,the final washings should be thorough1 and then the blue print will last its maker as long as the latter cares to keep it4 ,experiment ,d4--,,to ,,show ,,the ,,constituents ,,of ,,white ,,light ,few physicists to-day doubt that light consists of waves set up in an all-pervading medium called ether2 that1 moreover1 white light is composed of different tinted rays--to be seen reflected from the bevel edge of a looking-glass1 or indeed from the more natural rainbow--which further are caused by the different lengths of waves whereby the colored lights are propagated4 ,now we may produce these phenomena for ourselves by cutting a slit #a inches long in a temporary window-shutter1 or1 more conveniently1 in the end of a large wooden box 7,a1 ,fig4 #h74 ,near this a glass prism1 such as once adorned gas-pendants so profusely1 must be supported 7,b1 ,fig4 #h7 on a block of wood1 and at the opposite end of the box a sheet of paper pinned to the inside 7,c1 ,fig4 #h74 ,the arrangement is shown in the diagram4 ,now notice1 if you regard this screen from the open top--a large cloth covering head and box in order to keep out superfluous light--a band of color is depicted thereon1 gradating gently like a rainbow from violet through blue and yellow to red4 ,thus the white light which entered through the slit has been separated into its component parts4 ,so far1 gorgeous enough6 ,but for the photographer much greater interest is at hand1 will he proceed as follows4 ,place the box so that bright sunshine enters through the slit1 and after fastening a piece of blue print paper instead of the white on the box interior1 allow this to print1 at the same time excluding extraneous light by a dark cloth overspread4 ,when this piece of paper has been washed and fixed1 the colored band should have registered itself in various shades of blue1 from which it will be noticeable that the purple and blue lights have darkened the paper most1 whilst red and yellow hardly affect it at all4 ,if ordinary printing paper1 or still better1 a photographic plate 7in which latter case a considerably shorter exposure will suffice1 and outside light must be rigorously excluded7 be used1 instead of the blue print paper1 the result is still more striking4 ,illustration3 ,,fig4 #h4--,the refraction of white light into its constituent colors4 ,from this experiment further is to be gathered the reason for developing plates by red light1 which evidently does not affect the sensitive surface in any appreciable degree4 ,but1 on the other hand1 special orthochromatic plates are made which1 by dyeing1 have been rendered sensitive to the yellow rays as well as to the blue1 and if one of these be employed to 8take0 the colored band1 technically called 8spectrum10 a totally different gradation is obtained compared with that on an ordinary plate or on 8blue print0 paper4 ,then again1 suppose instead of sunlight1 ordinary lamplight or incandescent gas be used as an illuminant1 the gradation varies1 whilst still another modification is to photograph the spectrum of a methylated spirit-flame in which common salt is being burnt4 ,in this case the light is so yellow that an orthochromatic plate must be used4 ,another illuminant worth testing is magnesium ribbon1 which also may be ignited in the spirit-flame4 ,before saying a final adieu to these spectrum results1 one last item remains for remark--last but not least4 ,we say that the series of visible colors extended from violet through blue and yellow to red1 and that darkness obtained at each end4 ,well6 ,mount a plate or piece of printing paper inside the box1 so that half of it is well in the darkness beyond the bluish-violet bands1 and expose long enough to secure a slight opacity in these parts 7i4e4 where the blue bands fell7 when the plate is developed and fixed4 ,the half of the plate which was in darkness and therefore apparently received no exposure1 nevertheless develops darker than the remainder1 seeming to indicate that some light1 although invisible to the human eye1 had affected the sensitive silver compounds in the plate4 ,this is actually the case4 ,the rays of light which exert this wonderful influence are called 8ultra-violet10 meaning beyond the violet1 and their existence explains1 amongst other matters1 why photography of the heavens has revealed the presence of many thousands more stars than can ever be seen by man4 ,such stars emit only 8ultra violet0 light4 ,experiment ,e4--,,one ,,person ,,in ,,two ,,places--,,and ,,spiritualism ,pictures of a man decapitating himself1 or of the reader's sister turning the skipping-rope for another girl1 who is herself1 may justly be called mystifying4 ,not only may they almost deceive the operator himself1 but will quite nonplus the uninitiated1 to whom proofs may thus be presented of the most impossible happenings4 ,two methods are applicable to the production of such freak portraits1 viz3-- 7#a7 ,to photograph the entire picture in two separate halves on the plate1 moving the sitter from one position to another for each exposure4 7#b7 ,to employ a background as dark and dim as practicable1 whilst well-lighting the sitter and furniture1 and giving a separate exposure for each position of the model4 ,the latter procedure is by far the simpler1 and provided reasonably correct exposures are given1 success should not be very elusive4 ,to take for a concrete example the portrait of a boy playing checkers with himself4 ,hang up a curtain of black or deep-red material in some dark recess of a room1 and a few feet before it stand a small bamboo table with checker-board1 c41 complete1 at which the person to be photographed may be posed sitting4 ,as mentioned above1 all available light must be concentrated on the group1 whilst if the model be wearing light clothes1 the effect will be enhanced accordingly4 ,as to the camera1 this may with greatest advantage be of the focussing type1 or at any rate a box instrument fitted with magnifiers1 so that by being placed near to the sitter the latter may be rendered large and sharp in the portrait whilst the background remains indistinct4 ,this should be of such a size that its somber image well covers the whole plate4 ,a suggested arrangement for the tableau is sketched in ,fig4 #i4 ,the first exposure may be made with the person seated at #a--the left-hand side of the table--he either resting one finger on a checker as if about to make his move1 or adopting such other pose as his acting capabilities may suggest4 ,primarily the time of exposure should be just sufficient for the light-clothed sitter1 and therefore not enough for the table and background1 which receive a second exposure4 ,this should be made when the model has taken his chair to the opposite side of the table1 and again assumed a position natural to the player1 who anxiously watches his opponent's play4 ,illustration3 ,,fig4 #i4--,one person in two places4 ,a4 ,table4 ,b4 ,black or red curtain as background4 ,c4 ,fireplace4 ,d4 ,white sheet as reflector4 ,e4 ,camera4 #a and #b4 ,positions of sitter in first and second exposures4 ,all possible care must1 of course1 be taken to keep the table undisturbed during the model's movements1 and also to insure that no lighter object than the sitter himself has a place in either exposure just where he appears in the other4 ,for example1 a pile of books must not be photographed during the first exposure just behind or in front of the position which the model is to occupy during the second exposure2 otherwise the vision of books through the person's transparent chest1 or a similar incongruous phenomenon1 will result4 ,,spirit ,,photography ,spirit or ghost photography is but a modification of these methods4 ,the chief element of success is to ignore the caution of the preceding paragraph1 and render the ghost figure as transparent as possible4 ,the first exposure should be an adequate one of the human model1 who has twisted himself into an attitude of groveling terror compatible with the fright from which he is supposed to be suffering1 whilst the background behind him must be dark and indistinct1 if he is next to impersonate the spook4 ,the latter's surroundings1 on the contrary1 may be as detailed and well-lighted as convenient1 because the white-robed figure is to appear transparent4 ,a sheet will be fit apparel for the 8spirit10 and must be large enough to drape entirely the gliding form with outspread arms4 ,the second exposure must be abnormally short1 so as just to obtain a faint impression of the sheet and its folds4 ,finally1 if the terror-stricken person can maintain his attitude of fear during the first exposure1 and also for the photograph of the ghost1 whose rle may be taken by some one else beneath a sheet1 there is no necessity to have any part of the background unusually dark4 ,still1 darkness is said to favor spooks1 so the background is perhaps entirely a matter of choice4 ,with such dash toward the borders of the spiritual realm1 this series of photo experiments must conclude4 ,the most ardent camera fiend can scarcely denounce them as embracing too narrow a field when he considers that ghosts as well as mundane matters--psychical and physical alike--have been approached4 ,even if his finger-tips do not resemble ebony with silver nitrate1 he may still rightly term his hobby the 8,black ,art40 ,and his friends6 ,well1 if present at the researches1 may their remarks be unheard4 ,doubtless they will ponder deeply1 and conclude that the camera does sometimes lie4 99 99 99 99 99 ,sun pictures of the earliest types had been no long time in existence before a rumor spread that photography could not lie4 ,critics and admirers of the new process rightly enough concluded that a knight of the camera must be constrained to narrow interpretations by his instruments as no artist is by his brushes4 ,but this conclusion1 held widely now as then1 is only in part correct4 ,the camera records the relative position of objects absolutely1 but may on the other hand ruthlessly destroy all sense of perspective1 or render globular images of rectilinear buildings4 ,nor are these the only peculiarities which1 in themselves disadvantageous1 may frequently be turned to account by the photographer4 ,sensitive plates are seldom correctly exposed4 ,they either suffer under- or over-exposure1 and when there is a gross error the resulting picture either lacks detail and is blotchy1 or else presents the light gradation of a ,london fog4 ,but1 as a set-off to these failings1 it might be noted that moonlight pictures are obtainable by excessively short daylight exposures1 which give only the outline of the objects1 and a contrast between light and shade appropriate to night scenes1 whilst photographs of flowers1 portraits1 and cloud studies may mostly receive full exposure with advantage1 the softness of lighting engendered lending additional charm to such subjects4 ,illustration3 ,,fig4 #aj4--,slanting screen 7,c7 with circular aperture to equalize exposures of sky 7,a7 and foreground 7,b7 in landscapes4 ,landscapes commonly reveal over-exposure of the sky or inadequate exposure of the ground and objects1 because the amounts of light emitted by these respective portions differ so much4 ,to obviate this difficulty an early photograph worker devised1 and indeed used1 the arrangement of a circular aperture before the lens1 slanting so that it might not admit such large parallels of light from the sky as from the ground portion4 ,the device is more easily understood from the accompanying sketch 7,fig4 #aj74 ,illustration3 ,,fig4 #aa4--;,a method of securing 8modeling0 in portraiture4 ,the portrait hunter should rejoice to realize that1 by judicious procedure1 persons of the coarsest complexion may be flattered in their likenesses4 ,not the least valuable dodge is to render freckles and red blotches invisible by the use of orthochromatic plates1 and1 if necessary1 a yellow screen1 which articles prevent the pink skin from securing any advantage over the insular blotches in point of actinic light value4 ,a supplementary method of securing pleasant portrait effects is to mount a disc of cardboard 7,a1 ,fig4 #aa71 round whose edge holes of various sizes from to -inch diameter and about -inch apart are cut 7,b1 ,fig4 #aa71 in front of the camera on a spindle 7,c1 ,fig4 #aa7 as shown4 ,any one of the holes should be adjustable exactly in front of the lens1 and the mode of usage is to spin the card disc rapidly whilst the exposure is being given4 ,this should1 of course1 be proportionately longer than usual4 ,,novel ,,results ,excellent imitations of crayon pictures are to be produced by taking the required photograph through a negative screen1 which has been made by copying to equal size or slight reduction1 a piece of rough drawing-paper rubbed evenly with charcoal4 ,it is employable in two ways1 either by keeping it in contact with the sensitive plate in the dark slide whilst the photograph is being taken--a slightly longer exposure being given--or else holding it in the frame on the opposite side of the negative to the sensitive paper during printing1 which is conducted in the sunshine4 ,by systems of double or triple printing1 all manner of novel results are obtainable4 ,the only difficulty presented in this work is that of correct registration1 but if printing paper--the most usual medium--be employed1 this should not be insurmountable even at the first trial4 ,as a first instance of these compositions1 suppose out of black paper #d inches by #f inches1 a piece be removed the shape of the negative portion required1 and this mask be used to print through on to a sensitized postcard4 ,the black shape removed should have been gummed on to tissue paper and this used1 after the picture portion has been secured1 to print a border--showing the grain of the translucent paper--around the photograph4 ,for a second1 and last1 example of triple printing1 proceed by first preparing the negative of a picture frame1 in which1 however1 an ordinary plain canvas surface has superseded the work of art4 ,the idea is then1 by multiple printing1 to introduce a camera view into this frame image1 and so make the result resemble the copy of another painting4 ,cut a black paper mask with an aperture the exact size of the canvas image in the frame negative1 and through this mask print the photograph required a shade lighter than usual4 ,then substitute the frame negative1 and1 with the same mask in place1 secure a slight record of the inner canvas image over the photograph already printed4 ,this gives the requisite oil painting effect4 ,lastly the piece of black paper1 originally removed to form the mask1 is fixed over the canvas image of the frame negative and the sensitive paper replaced in position1 so that registration and printing of the frame periphery is secured4 ,then toning and fixing ensue1 and the 8fraud0 is complete4 ,illustration3 ,,fig4 #a4--,plan of ,marionette stage4 ,,chapter ,,xli ,,how ,,to ,,make ,,and ,,work ,,marionettes ,,constructing ,,the ,,stage ,,marionettes1 though claiming no rivalry to the time-honored institution of ,punch and ,judy1 have a great charm of their own1 and1 with no traditional story of ,punch1 ,judy1 and ,dog ,toby1 are at liberty to perform whatever play their manager may desire4 ,although it is possible1 of course1 to purchase ready-made ,marionette theaters and puppets1 the purpose of this chapter is to describe a method by which the whole apparatus can be constructed at home at the cost of very little money and time4 ,naturally1 the first thing to be made is the stage4 ,this must depend very much upon the ,marionettes you intend to work4 ,as a convenient size1 suppose you decide upon figures #h inches in height4 ,this means that the frontage of the stage must be about #bh inches wide by #af inches high1 whilst it will run back to a depth of some #ad inches4 ,make a base of plain wood1 #db inches by #bb inches4 ,if more convenient this can be made in two pieces1 each #ba inches by #bb inches4 ,these fit together flush and are held by a couple of hooks and nails fastening beneath4 ,glue a block of wood at each corner to form a support1 as shown in ,fig4 #a1 which depicts the under side of the base4 ,a1 ,b are the two hooks and nails2 ,c1 ,c1 ,c1 ,c are the above-mentioned blocks4 ,at a distance of #b inches from what will be the front1 and #b inches from either end1 cut a mortice in each piece of the base 7,d1 ,d in the figure71 through which the tenons of the stage front will project4 ,they must1 therefore1 be made to suit the thickness of the wood employed4 ,at a distance of #e inches from the back make four mortices1 a couple in each part of the base as ,e1 ,e1 ,e1 ,e in the figure4 ,these will serve to hold the rear of the stage4 ,the front of the stage is now constructed as indicated by ,fig4 #b4 ,two pieces must be made exactly similar to one another1 each to form one-half of the front4 ,the tenon1 ,d1 should be long enough to pass through the mortice made for it in the base1 and project from the other side sufficiently to allow of a peg being pushed through a hole bored in it4 ,this peg will serve to maintain the upright front in place4 ,furthermore1 two hooks must be placed upon one of the halves1 to fasten to corresponding nails in the other half1 thus holding the pieces of the stage front firmly together4 ,the back of the stage consists of two pieces of wood each #ah inches by #ah inches1 having tenons to fit into the mortices below the pegs1 and fastened together by hooks and nails4 ,before proceeding further with the work1 bore two holes1 of sufficient size to hold a piece of stout copper wire firmly in each piece of the base 7,p1 ,p1 ,p1 ,p1 ,fig4 #a74 ,the use of these will be explained shortly4 ,illustration3 ,,fig4 #b4--;,construction of front of stage4 ,the actual fabric of the stage is now complete4 ,bear in mind no string or wire should extend from the front to the back of the stage1 for the simple reason that these spaces must be left perfectly clear to allow of the exit and entrance of the puppets4 ,illustration3 ,,fig4 #c4--,stage front completed4 ,next fix the drapery in the form of curtains to each side of the stage front4 ,these must be chosen according to your own taste1 and should harmonize with the exterior decoration of the theater4 ,the curtains should be gathered up and tacked to the stage front from the inside1 as in ,fig4 #c1 from which an idea of the general adornment of the whole theater can be gleaned4 ,a ,,movable ,,curtain ,the following plan will be found very suitable for the arrangement of the movable curtain4 ,take a piece of strong copper wire and bend it1 as shown in ,fig4 #d4 ,the length of the unbent portion should be about #cj inches4 ,fit the two ends1 ,a and ,b1 into holes bored in the stage front1 inside and above the opening4 ,the wire rod will thus run the whole length of the actual stage1 whilst the ends ,a and ,b suffice to clear the fixed curtains already tacked up4 ,hang the movable curtains by a number of little rings upon this rod4 ,when drawn1 the two curtains1 which should be of some stout material1 will completely cover the stage4 ,illustration3 ,,fig4 #d4--,wire rod for movable curtain4 ,the method of drawing the curtains is arranged thus3 ,a string 7,l1 ,fig4 #e7 is passed through the loop ,c in the rod1 through all the rings from ,g#d to ,g1 where it is fastened1 and then passed on through ,h and all those rings up to the loop ,d4 ,the string ,l then returns through the ,h rings #d to #a to ,h itself1 where it is fastened and ends4 ,by pulling the string ,l when the curtain is drawn1 the ring ,h is therefore drawn towards ,d and the ring ,g towards ,c1 thus opening the curtains simultaneously by means of only one string4 ,illustration3 ,,fig4 #e4--;,arrangement for drawing curtains4 ,illustration3 ,,fig4 #f4--;,frame for wings4 ,supposing the curtains to be now pulled right back1 thread another string1 ,m1 through the loop ,e1 pass it through all the ,g rings and across to ,h1 where it must be fixed4 ,then pass this string through all the ,h rings1 through the loop ,f1 and back by way of ,h to the ring ,g1 where it must be tied and end4 ,it will now be found that by pulling the string ,m1 the rings ,g and ,h are drawn together4 ,to avoid any confusion1 a distinctive mark should be placed upon the ends ,l and ,m of each string4 ,you must next bend a couple of pieces of strong copper wire into the shape depicted in ,fig4 #f4 ,the sides ,a ,b and ,c ,d should measure #bj inches1 whilst ,b ,c must be of such a length that the ends ,a and ,d can fit into the holes ,p ,p already bored in the base4 ,these pieces of wire serve to support the wings1 trees1 or other stage arrangements as occasion requires4 ,the stage is now complete1 and will take to pieces and pack up flat with no trouble or inconvenience of any kind4 ,illustration3 ,,fig4 #g4--;,a stage tree4 ,,interior ,,decoration ,the next questions that arise concern scenery4 ,this depends entirely upon the play to be performed4 ,the floor of the stage must be covered with suitable paper1 or better still with a carpet4 ,in the arrangement of the wings and the scenery connected therewith1 do not forget that the spaces on each side must be left clear4 ,marionettes cannot enter by doors1 and a descent from the ceiling is not only undignified but impracticable4 ,the side scenery must therefore be as simple as possible4 ,unless your performance is to be upon a very extensive scale1 the actual amount of scenery required is not great4 ,an interior can easily be painted4 ,pieces representing the walls of the room can be hung upon what may be called the wing wires1 whilst the rest of the interior can be painted upon the stage back4 ,in all probability a rural scene will also be required4 ,a stage tree or two 7,fig4 #g7 should be fastened to the wing wires1 and the background of sky and landscape need present no difficulty to a handy amateur4 ,street scenes can be arranged by hanging the ends and fronts of houses from the wing wires1 whilst the background may either depict the street fading into the distance1 or have another house at the corner1 after the fashion of stageland4 ,a great variety of scenery may be made with the help of an artistic friend2 and when at the theater1 inspect the effects closely4 ,by doing this many invaluable hints as to setting and scenic inventions can be acquired4 ,but what is a theater without the actors8 ,who are to perform upon the boards you have so carefully constructed8 ,it has already been mentioned that the ,marionettes are to be about #h inches high4 ,this will be found a convenient size for the beginner1 since very small figures are apt to be troublesome1 and large ones are sure to prove unwieldly4 ,it is important to have the ,marionettes so articulated that they will readily answer every motion of the operator's strings1 and be neither too stiff nor too limp4 ,illustration3 ,,fig4 #h4--;,dutch doll for puppet4 ,,home-,,made ,,figures ,illustration3 ,,fig4 #i4--,universal arm-joint4 ,the following hints will show how the figures are to be made at home at slight cost4 ,get an ordinary ,dutch doll 7similar to that shown in ,fig4 #h7 of the proper size and neatly made4 ,notice that the hip-joints allow the legs to move upwards freely1 a convenience that the ordinary doll lacks4 ,the knee-joints are after the same pattern1 and allow the lower part of the leg to double up for sitting and kneeling4 ,these joints should be made to work easily and evenly4 ,the arms should be attached to the body by what is known as a universal joint 7seen in ,fig4 #i74 ,make the surface ,a ,b 7,fig4 #aj7 perfectly even1 and then scoop a slight hollow in the wood4 ,in this hollow drive a staple almost up to the head1 leaving only enough room to insert a piece of string in the loop1 whilst the head of the staple is level with the surface ,a ,b4 ,round off the end of the arm 7,fig4 #aa71 and pierce a hole about half-an-inch from the end4 ,thread a piece of string through the staple and through the hole in the arm1 tying the ends together fairly tightly1 so that the arm is perfectly free at the joint but does not hang loosely4 ,for the head1 either touch up the original ,peggy's head to make it respectable1 or remove it altogether1 replacing it by that of a china doll4 ,in the former case1 a flaxen wig must be glued over the black painted hair1 and a human complexion given to the crimson cheeks4 ,undoubtedly a better effect is produced by exchanging heads with a china sister4 ,the dressing of the ,marionettes need be a matter of no difficulty4 ,the costumes must depend entirely upon the nature of the play1 although certain stock characters may be made once and for all1 and kept in readiness4 ,a sailor1 a soldier in resplendent uniform1 a policeman1 and an ordinary man or two can be kept prepared2 whilst for the fair sex1 an old lady1 a young one1 a maid-servant1 and a little girl are likely to be of service4 ,the remainder of your cast must be regulated by circumstances4 ,the clothing may be fastened to the above-mentioned characters2 but in special cases the costumes should be made to take off as occasion may require4 ,illustration3 ,,fig4 #aj4--,socket for arm4 ,illustration3 ,,fig4 #aa4--,rounded end of arm4 ,illustration3 ,,fig4 #ab4--,showing how and where threads should be attached4 ,having prepared the figures1 they must now be made to act and move in a rational manner4 ,five black threads are attached to each figure and ascend to the flies1 where they are manipulated by the performer4 ,a glance at ,fig4 #ab shows how and where these threads are to be attached4 ,fix ,a and ,b to the right and left hand respectively1 ,c and ,d to the knees1 whilst ,e must fasten to the back1 where it serves to support the figure4 ,these threads should be very fine1 for the whole success of your undertaking depends upon their concealment4 ,,working ,,the ,,puppets ,illustration3 ,,fig4 #ac4--;,finger loops for manipulating puppet4 ,there are two methods of holding the threads and working the puppets1 the first of which is also shown in ,fig4 #ab4 ,the arm threads1 ,a and ,b1 are attached to the end of a stick1 ,f2 the leg threads are similarly attached to another stick1 ,g1 to the center of which the body thread1 ,e1 is fastened4 ,the sticks are then held1 one in each hand1 or both in the same4 ,although more convenient for manipulation1 this method possesses the disadvantage of limiting each operator to the management of one puppet1 and where there are several characters upon the stage1 much confusion may result4 ,if the two sticks be held in one hand free play1 so far as pulling the strings is concerned1 is allowed to the fingers1 and there should be no difficulty in working two ,marionettes at the same time1 one with each hand4 ,an easier method of manipulating the figures is shown in ,fig4 #ac4 ,the thread attachments are the same1 but instead of being fastened to sticks1 each string terminates in a brass ring placed upon the finger4 ,the threads should be of such a length that1 when the hand is held as in ,fig4 #ac1 the body of the puppet will be upright1 the legs stretched1 and the arms dropped by the sides4 ,place the rings upon the fingers in the following order3 ,the body string1 ,e1 to the third finger2 the leg strings1 ,c and ,d1 to the thumb and little finger2 and the arm threads to the first and second fingers1 as shown in ,fig4 #ac4 ,with very little practice the figures can be made to walk1 the progressive motion of the legs being manipulated by alternately moving the thumb and little finger4 ,a similar movement of the first and second fingers will put the arms into action4 ,when sitting upon a chair1 the lower parts of the legs bend by their own weight1 and you will need only to pull the body string to make the figure rise quite naturally4 ,the theater1 scenery and actors being ready1 it remains to decide what they shall play4 ,your programme must necessarily be chosen according to the audience4 ,presuming there is somebody to assist you in working the figures1 thereby making it possible to have three or four characters upon the stage at once1 the variety of plays is very great1 and the choice of one or two short pieces should be easy4 ,several publishers issue large assortments of ,marionette plays1 and catalogues can be obtained giving full particulars as to the number of characters required1 scenery necessary1 and so forth4 ,the ,marionette stage is not adapted to heavy drama4 ,tragedies would be ridiculous on the 8two foot boards40 ,the rles1 therefore1 assumed by each character should be amusing and topical1 containing allusions likely to be understood by the spectators1 and interspersed with such local 8gags0 as opportunity may suggest4 ,the two operators should divide their labors1 as far as possible1 in such a way that the lady does the female characters1 whilst her partner works the men4 ,the reason for this division is clear1 for it will come more natural for a lady to caricature the female voice1 whilst her accomplice will be better suited to the stern accents of the menacing policeman1 or the passionate entreaties of the ardent lover4 ,,working ,practice the parts carefully and thoroughly4 ,be ready with some joke or patter to cover any mishap that may occur4 ,accidents are unfortunate1 but in ,marionette-land quite probable1 so if ,aladdin's left arm fails to work at the critical moment1 there is nothing to do but make the audience think it all part of the fun4 ,supposing the evening for your entertainment to have arrived1 and that all is in readiness1 place the theater upon a table at such a height that the spectators will get a clear view of the stage1 but will not be able to see the flies4 ,the table should be against a wall1 and arranged in such a manner that you and your partner have sufficient room to move behind it4 ,in the space between the table and wall a couple of boards must be placed on trestles1 so that the operators may stand above the stage4 ,a curtain must hang from the ceiling to meet the top of the theater4 ,on no account should the audience be able to watch the heads of the manipulators moving the puppets4 ,there are few better plans than to have the stage arranged in the embrasure of a window1 for the curtain can then be easily contrived1 whilst the 8show0 does not take any of the space required for the spectators4 ,but this1 of course1 must depend upon the nature of the room at your disposal4 ,the guests having been marshaled into their places1 the entertainment should open with an overture4 ,if there be intervals in the course of the play1 the pianist will find fresh employment1 whilst at times a running accompaniment is very suitable4 ,start with a one act farce1 to be followed by a fairy tale or pantomime4 ,conclude with another short farce1 into which may be introduced all kinds of whimsicalities1 jokes1 local patter1 and topical allusions4 ,the puppets will do exactly as you direct them4 ,make them work their best2 let the show be worth seeing and hearing1 for the possibilities of the ,marionette stage are very great1 and with ordinary care a most enjoyable entertainment can be produced4 ,,chapter ,,xlii ,,living ,,marionettes ,a ,,good 8,,one ,,man0 ,,show ,a ,,living ,marionette entertainment is well adapted for a 8,one ,man ,show10 and sure to prove a success4 ,the very appearance of the weird creature1 half human and half doll1 makes the spectators laugh1 and this laugh will scarcely subside until the curtain has been finally rung down on the entertainment4 ,illustration3 ,,fig4 #a4--,the dummy body with the human head4 ,illustration3 ,,fig4 #b4--;,front view of living ,marionette stage4 ,the mysterious combination shown in ,fig4 #a needs but little explanation1 since it is very clear that the head is human whilst the body is wooden4 ,this makes so comical a figure that anything but pure humor would seem singularly out of place issuing from those lips2 it must1 therefore1 be clearly understood that the living ,marionette is comic from beginning to end4 ,the stage must be about #c feet wide1 and of the same height1 thus allowing room for the head and false body4 ,the stage front may be made in the same manner adopted for the ,marionettes proper1 though so much space will not be required at the top1 as can be seen from ,fig4 #b4 ,the stage itself should be about #ab inches deep1 and arranged at such a height that when standing behind1 your chin will be about #aa inches above the stage4 ,the whole construction will then be somewhat like the box and stage of an old-fashioned ,punch and ,judy ,show4 ,a strip of perfectly black cloth is next stretched from side to side along the inner edge of the stage1 i4e4 the part farthest removed from the audience4 ,this cloth should be #aa inches wide1 and when in place will occupy the position shown in ,fig4 #c4 ,between this edge of the stage and the actual back of the box should be a space of #ae inches4 ,the actual back must also be covered with black cloth4 ,the sectional appearance of the stage will therefore be as in ,fig4 #d4 ,an arrangement of curtains1 as described in connection with the ,marionette stage1 must be fitted with the strings below the stage1 in order that you may pull them unseen by the audience4 ,the wooden bodies should be #aj inches high1 and headless4 ,a collar must be sewn to the costume where the neck should be1 in order to conceal the spot where the living head is thrust over the false body4 ,the most satisfactory way of working the limbs of the puppet is as follows3 ,above the stage1 in the flies1 a rod1 upon which are strung several brass rings1 extends from side to side 7,a1 ,fig4 #d74 ,now the strings attached to the arms and legs pass up and through these rings1 whence they descend behind the cloth screen and are moved invisibly by the operator4 ,as there is only one figure to work1 you can hold the arm threads in one hand1 the leg threads in the other1 whilst the supporting body thread passes in a loop around your neck4 ,in this way the body is forced to move with the living head1 as though really a part of it 7,fig4 #e74 ,you should now make up your face to suit the character4 ,suppose the body represents an ordinary ,jack ,tar1 with bell-bottomed trousers1 blue collar1 and so forth4 ,the comic sailor's beard must be so adjusted that its bushiness will conceal what may be called the junction between your head and his false body4 ,the hat or round cap can be put on at a nautical tilt4 ,having fixed the body-thread around your throat and fastened the beard1 crane your own neck forward1 and place the ,marionette body upon the stage1 having the strip of black cloth between it and your shoulders4 ,arrange the arm and leg strings through the rings1 and keep the ends in your hands ready for action4 ,when everything is completed1 draw the curtain and commence4 ,illustration3 ,,fig4 #d4--,sectional view of ,marionette stage4 ,,comical ,,effects ,songs and monologues are naturally the best turns for the ,living ,marionette4 ,choose a rollicking1 nautical song1 suitable to ,jack ,tar4 ,all the gestures and motions can be given to the limbs by means of the threads1 whilst every now and again ,jack can enliven himself and the audience by executing a hornpipe4 ,a little practice with the leg-strings will enable you to perform this with great effect4 ,illustration3 ,,fig4 #c4--;,black cloth arrangement to conceal top of performer's body4 ,always strive to obtain comical effects4 ,if the gallant mariner has a telescope in his hand1 this should be raised to the eye1 where the extraordinary contrast between the tiny hand holding a midget telescope1 and the enormous face emerging from its forest of beard1 is ludicrous in the extreme4 ,or if the other branch of the ,service be on the boards1 the cavalryman may flourish a saber1 which1 at full arm's length1 will scarcely reach the tip of his ear4 ,a tiny rifle raised to the shoulder makes another laughable effect4 ,the ,man about ,town is a humorous figure4 ,dressed in an exaggeration of the latest style1 with a dapper strut1 flourishing a modish cane1 he is a person to be admired--and laughed at4 ,over the pigmy body looms an enormous face1 smoking a huge cigar1 big even for an ordinary individual4 ,naturally it would be impossible to sing or speak with the cigar in his mouth1 and it cannot be gracefully removed with dummy hands that will scarcely reach it4 ,the simplest method of getting the cigar out of the way is to make 8,bertie0 stumble over his own cane1 for instance1 and in the agitation of the moment drop his 8smoke40 ,he will then be able to air his peculiarities in comfort1 and will prove a most amusing personage4 ,two figures may be introduced upon the stage1 although they are likely to prove a tight fit4 ,some laughable dialogues and duets are the result4 ,quarrels or love scenes must be intensely funny4 ,a young gentleman and a younger lady can be introduced with much formality1 and1 advancing to shake hands1 meet with an embarrassing adventure1 pleasant enough in its way4 ,owing to the smallness of their arms and the largeness of their faces1 before their hands have met1 their lips have perforce sealed the contract of friendship4 ,a general idea of ,living ,marionettes and their working may be gained from the foregoing suggestions4 ,sentimental songs1 sung with a whimsical air of grotesque pathos1 will probably 8bring the house down10 whilst the applause attending a good comic song in character will encourage all parties concerned4 ,living ,marionettes are sometimes introduced in conjunction with an ordinary ,marionette show1 and should be given after the latter has concluded4 ,the contrast between the symmetrical little mannikins and the distorted living doll will be remarkable1 whilst the exuberant humor of the latter is sure to provide a pleasant finale to what all will judge a delightful evening4 ,illustration3 ,,fig4 #e4--,living ,marionette operator at work4 ,,chapter ,,xliii ,a ,,home ,,circus ,a ,,new ,,form ,,of ,,entertainment ,a ,,home ,,circus has so far been beyond the wildest dreams of the amateur showman4 ,yet when one considers the wide scope a circus presents to performers of every type1 it is curious that 8amateur circuses0 are not almost as popular as 8amateur theatricals40 ,at first sight such a show seems impracticable1 on account of the large floor area required for the ring4 ,this need occupy but little more space than a stage1 however2 and1 taking into consideration the fact that the audience almost completely surrounds the performers1 it will ultimately be found that a circus does not necessitate so large a room as might be anticipated4 ,illustration3 ,,fig4 #a4--,showing barricade and ring entrance4 ,of premier importance1 of course1 is the ring itself4 ,it need not be more than fifteen feet in diameter2 but if additional space can be spared1 so much the better4 ,fig4 #a gives a plan of a ring4 ,it principally consists of a circular barricade about #cj inches high4 ,in one portion there is a gap of four or five feet1 which acts as an entrance 7,a1 ,fig4 #a74 ,if the ring can be so arranged that a door of the room in which the circus is being constructed1 coincides with this entrance1 much trouble will be saved4 ,should this be impossible1 however1 two or three screens can be arranged to form a passage from the ring entrance to the nearest door4 ,the method of constructing the barricade is explained in ,fig4 #b4 ,a number of broomsticks are sawn into #cj inch lengths and fixed to heavy wooden bases in order that they may stand firmly upon the floor4 ,a hole is then bored in the other extremity2 this may be done by means of a red-hot meat skewer4 ,the position selected for the ring must next be marked out in chalk1 and the wooden stands placed round it at intervals of about a yard4 ,then thread a piece of stout cord through the holes in the extremities of the uprights4 ,having determined the exact circumference of the ring1 purchase a sufficient length of cheap red flannelette to go completely round it4 ,the cost of this material should be about #aj cents per yard1 and its width exactly equal to the height of the stands4 ,a number of large hooks must be obtained from the same shop1 and sewn along one edge of the flannelette4 ,it remains only to hook the material to the cord1 as shown in ,fig4 #b1 in order to complete the barricade4 ,illustration3 ,,fig4 #b4--;,construction of barricade4 ,the entrance must now be artistically draped with curtains1 after the style of ,a1 ,fig4 #a4 ,it will then serve the additional purpose of a 8stage10 upon which conjurers1 jugglers1 and other artists who do not wish the audience to see the back of their apparatus can perform4 ,the vexed question of 8lights0--always a difficult problem in amateur theatricals--need not here be considered1 the gas or electric fixtures already installed being sufficient4 ,a circus is never complete without its horses1 so attention must now be paid to this department4 ,it is hardly practicable to turn several full-grown animals loose in a circus constructed in an ordinary room nor is it probable that the reader's purse will run to the importation of one or two ,shetland ponies4 ,but a whole stud of 8circus horses0 may be obtained at small expense by carrying out the following directions4 ,illustration3 ,,fig4 #c4--,showing outline of horse and part to be stitched4 ,purchase three yards of cotton cloth1 at #f cents per yard4 ,fold the material in the center1 thus making a double piece #a yards long4 ,with a pencil or piece of chalk sketch the outlines of the head and back of a horse upon it1 as shown in ,fig4 #c4 ,then take a pair of scissors and carefully cut out the stuff4 ,the result will be two horse-shaped pieces of calico of exactly similar proportions4 ,at this stage1 if the young showman is wise1 he will place the operations in the hands of his mother or sister1 for the two patterns must be stitched together along the edges1 to the points marked ,a and ,b1 ,fig4 #c4 ,this done1 the whole affair should be turned inside out4 ,next obtain a quantity of rags or shavings1 or purchase some excelsior from an upholsterer's1 and stuff first the head and then the haunches of the 8horse40 ,the two unsewn pieces of cloth in the center remain empty4 ,one of them must be cut in half1 and the two sections thus obtained folded and stitched into the form of two small bolsters and stuffed with flock 7,a1 ,b1 ,fig4 #d74 ,illustration3 ,,fig4 #d4--,opening in horse for rider2 tapes at ,a and ,b to be tied4 ,the remaining side should be similarly treated1 only in this case it must not be cut in half1 but remain intact4 ,the result will be the head and haunches of a horse1 with two 8sausage-shaped0 flanks in the center 7,fig4 #d74 ,,other ,,decorations ,the 8noble thorough-bred0 is now ready for its final decorations4 ,unravel some coarse rope and sew it along the neck of the horse to represent the mane4 ,another piece1 unraveled at one end only1 does duty for a tail4 ,the ears are constructed by cutting a piece of calico1 folded in the form of a sugar bag1 perpendicularly down the center1 and stitching the two halves into position on the head4 ,the color of the horse must next be determined4 ,if dapple-gray1 a few ink blobs upon the white background will suffice2 but if chestnut1 brown1 or black1 a distemper must be applied with a thick brush4 ,this distemper can be made by mixing ordinary water color1 of the shade required1 with size water1 and thickening with whiting4 ,when the distemper is dry1 the 8rider0 of the horse must get into the hollow in the center1 and secure it to his hips by tying the tapes together at ,a1 ,b1 ,fig4 #d4 ,a 8valance0 of cretonne should then be sewn completely round the horse to hide the 8rider's0 legs 7,fig4 #e74 ,a pair of reins1 and two dummy legs stitched on the flanks complete the 8mount40 ,illustration3 ,,fig4 #e4--,ready for the tournament4 ,it will be noticed that in ,fig4 #e the 8rider0 has a short skirt at the waist of his coat or armor4 ,this is to hide the manner in which the horse is attached to the 8rider's0 hips1 and the junction of the dummy legs4 ,these horses can be used in numerous ways4 ,a very effective item in which they might be employed is a 8tilting scene40 ,two knights attired in armor--this latter commodity can be easily constructed1 as it consists simply of back- and breast-plates made from painted cardboard1 with a helmet of the same material--8canter0 into the ring4 ,a clown follows them1 also mounted1 and carrying two long poles upon the ends of which are pads of rag1 one covered with soot and the other with flour4 ,illustration3 ,,fig4 #f4--;,dummy horse for bareback rider4 ,the clown then proposes that they shall have a tournament1 and offers to act as referee4 ,he thereupon hands them the poles1 and1 holding them as they would lances1 the knights retire to opposite sides of the ring4 ,at a signal from the clown1 the combatants dash towards each other1 to commence the attack4 ,the self-constituted referee gets in the way1 however1 and comes in for a lot of hustling4 ,the knights again retire1 and once more advance to the attack4 ,but1 as before1 the clown becomes mixed up in the affray4 ,this occurs again and again4 ,finally the two principals lose their temper and make a joint attack upon the referee4 ,pursued by the irate knights1 the clown dashes round and round the ring1 making his horse gallop first backwards1 then sideways1 and perform other ludicrous capers4 ,at length1 daubed with soot and flour from the knights' 8lances10 he darts precipitately from the ring4 ,there is another style of 8horse0 shown in ,fig4 #f4 ,the carcase is made in a manner similar to that already described1 but in this case the stuffing must be replaced by two men or boys1 who crouch in the position illustrated in the diagram4 ,it will be necessary1 however1 slightly to stuff the 8horse0 in such places as the head and haunches1 in order to make it of correct shape4 ,the two men or boys must carry upon their backs an oval-shaped piece of board1 having four 8legs0 nailed to its side1 by means of which the carriers hold it firmly in position during the performance4 ,this is clearly shown in ,fig4 #f4 ,the purpose of the board is to make a flat and solid surface upon which the 8daring bareback rider0 can perform4 ,the performance consists of jumping over garlands and through hoops2 leaping on to the back of the 8horse0 whilst it is at full gallop1 and other of the more simple feats seen at circuses4 ,it is preferable1 however1 that the 8bareback rider0 should be a clown1 who1 instead of jumping the garlands1 trips over them1 and falls headlong to the ground1 completely misses the horse when attempting to leap upon its back1 and lands on the ringmaster instead1 thus making a travesty of the whole affair4 ,the next performance should be of a more serious nature4 ,among the reader's acquaintances is sure to be one who goes in for gymnastics1 and he should be prevailed upon to give an exhibition of his prowess upon the parallel bars1 these being preferable to any other apparatus on account of the small space they occupy4 ,to increase the interest of the display1 a clown should attempt to emulate each movement as it is performed1 but must fail miserably and come a 8cropper0 every time4 ,it is advisable to have a set of mattresses to soften any unpremeditated falls4 ,,how ,,is ,,it ,,done8 ,another item suitable for the programme of the home circus is a 8mock0 conjuring entertainment4 ,the ring-master announces that ,herr ,bluffemstein1 the famous illusionist1 will present his marvelous performance4 ,thereupon one of the boys or young men taking part in the circus must stalk majestically into the ring1 and bow stiffly to the audience4 ,if possible he should be attired in evening dress4 ,he should also wear a fierce1 upturned mustache1 and carry an air-gun under his arm4 ,a large target is then placed in the curtained entrance to the ring4 ,this target consists merely of a wooden board containing several bent nails1 upon which lighted candles are stuck4 ,below each candle a large number is painted 7,fig4 #g74 8,herr ,bluffemstein0 then requests the audience to call out one of these numbers4 ,upon their complying1 he loads the air-gun1 raises it to his shoulder1 takes aim1 fires--and the lighted candle over the chosen number goes out6 ,he repeats this marvelous feat of marksmanship several times4 ,then1 without warning1 the remaining candles are suddenly extinguished one by one1 and a voice exclaims3 8,i say1 mister1 how much longer are you going to keep me blowing out these lights80 ,the next moment a boy1 wearing a glaring red wig1 steps from behind the target1 where he has been engaged in blowing out the candles through small holes bored exactly level with the wicks4 ,illustration3 ,,fig4 #g4--,target for trick shooting4 ,after admonishing his assistant for having 8given the game away10 the conjurer tells him to fetch the apparatus for the next trick4 ,the boy retires1 but shortly reappears with a tin kettle and a jug of water4 8,herr ,bluffemstein0 then proceeds to fill the kettle with water4 ,having done so1 he holds it over his assistant's head4 ,a few seconds pass1 then steam is seen to be issuing from the spout6 ,the illusionist hands the kettle to his assistant1 with instructions to take it away and fetch something else4 ,the boy1 however1 lifts off the lid1 and placing his hand into the interior1 draws out a piece of wire to which is attached a smoldering ball of brown paper4 ,the conjurer1 enraged at thus having his second trick spoilt1 chases his assistant round the ring4 ,he at length gives up the chase as hopeless1 and entices him to proceed with the next trick4 ,the boy again leaves the ring2 but soon returns with a slate1 a slip of ordinary writing-paper1 a wet sponge1 and a piece of brown paper4 ,the latter requires a little preparation before being used4 ,the conjurer and his assistant must fix upon a certain number--say #ba--;and write it reversely on the brown paper with a thick piece of chalk4 ,this1 of course1 must be done 8behind the scenes10 and the assistant should be careful that the audience do not catch sight of the figures when he enters the ring4 8,herr ,bluffemstein0 takes the slip of white paper1 and hands it in turn to three people sitting in different parts of the room1 with the request that each shall write a certain number upon it without letting him know what has been written4 ,whilst they are thus engaged he wipes the slate with the wet sponge1 and proceeds to wrap it in the brown paper1 taking care that the chalked figures come in contact with the middle of the slate4 ,placing the parcel on the ground1 he orders his assistant to stand upon it4 ,the pressure thus applied will1 of course1 print the chalked figures on to the slate4 ,the conjurer then takes the paper from the member of the audience who last wrote upon it4 ,handing it to the boy1 he instructs him to add up the figures1 and read out the result4 ,the boy pretends to make the addition1 but in reality calls out the number previously decided upon4 ,when the slate is unwrapped the audience are amazed to perceive the apparently correct figures chalked upon it4 ,but before their astonishment has had time to abate1 the assistant whips up the brown paper1 and displaying the chalked figures to the audience1 exclaims3 8,why1 sir1 there's still a lot more chalk to come off6 ,and do you know ,i nearly forgot the number ,i was told to call out80 ,there are numerous other tricks than can be adapted in the above manner1 but space will not permit further examples to be given4 ,it is a good plan to finish up with a really first-class illusion1 such as ,,the ,,indian ,,sack ,,trick ,in this illusion the assistant brings forward a sack and proceeds to get into it4 ,the conjurer then seizes the top of the sack1 and pulls it right over the boy's head4 ,producing a piece of rope1 he requests some one in the audience so to tie the mouth of the sack that it will be impossible for the assistant to get out4 ,when this is done1 the conjurer places a screen round the boy1 and slowly counts 8,one1 two1 three60 ,as he utters the last word1 he pulls away the screen4 ,the assistant is then seen to be perfectly free1 with the sack slung carelessly across his shoulder4 ,when the sack is examined it is found to be still securely tied with the identical knot made by the member of the audience4 ,the explanation lies in the fact that two sacks are employed4 ,the assistant has one secreted up his coat1 and as the conjurer pulls the first sack over his head1 the boy carefully pushes the top of the other through its mouth4 ,the conjurer hides the junction between the two by gathering the material together in his hand--apparently with the intention of making it more easy to tie4 ,consequently the member from the audience unconsciously ties the mouth of the second sack instead of the first4 ,all that is necessary for the assistant to do1 therefore1 when the screen is placed round him is to scramble out of the first sack1 stuff it up his coat out of sight1 then sling the other carelessly over his shoulder4 ,juggling is another performance eminently suitable for a show such as the home circus4 ,the only juggling the average person is capable of1 however1 consists in balancing a stick upon his finger1 or keeping a couple of balls in motion4 ,but the few hints given below will make it possible for any one to give a trick juggling performance after a few hours' practice4 ,,trick ,,juggling ,fig4 #h shows the first feat--that of balancing a stick1 card1 and wooden ball upon the hand4 ,the whole secret lies in the card4 ,it really consists of two cards pasted together1 with a piece of wire passing diagonally between them and protruding about half an inch at each end4 ,in both the ball and stick are small holes into which this wire fits4 ,the audience1 of course1 must be kept in ignorance of this--not a difficult thing to do when several feet separate them from the performer4 ,illustration3 ,,fig4 #h4--;,balancing stick1 card1 and wooden ball4 ,illustration3 ,,fig4 #i4--,two balls balanced upon stick4 ,the feat depicted in ,fig4 #i consists in balancing two balls upon a stick4 ,this is done by means of a wire constructed to slide up and down in the center of the stick4 ,at first this wire is completely hidden1 but by pushing up the small handle the performer can make it protrude from the extremity of the stick1 and pass through small holes in the balls4 ,of course1 other objects may be made to balance by this device4 ,the juggler should also number amongst his apparatus several cardboard plates of the pattern shown by the three diagrams comprising ,fig4 #aj4 ,a segment must first be cut from a circular piece of cardboard1 as shown by ,a4 ,the edges of this segment should then be gummed together1 the result being the conical contrivance seen in ,b4 ,lastly1 a circular cardboard ring must be fixed to the edge of this cone1 ,c1 and the plate is complete4 ,it is quite an easy matter to impart a spin to these plates as they are thrown into the air1 and then catch them on the end of a stick1 where they will rapidly revolve without the possibility of falling4 ,illustration3 ,,fig4 #aj4--;,cardboard plate for spinning4 ,fig4 #aa shows a method whereby a billiard ball can be made to roll along the edge of a fan4 ,a piece of wire is hinged to the bottom of the fan1 the other end protruding about one-eighth of an inch beyond the edge4 ,the billiard ball1 which is partly pierced by a small hole1 fixes upon this wire4 ,if the performer then places his forefinger in the small ring made in the wire1 and works it slowly backward and forwards1 the billiard ball will appear to be rolling along the edge of the fan4 ,illustration3 ,,fig4 #aa4--;,balancing ball on fan4 ,illustration3 ,,fig4 #ab4--,trick cards4 ,an excellent series of tricks may also be performed by means of a pack of cards1 having each card joined together by a thin piece of twine in the manner shown by ,fig4 #ab4 ,numerous other devices can be adopted by the juggler1 and the suggestions offered above may be enlarged upon considerably4 ,the merest tyro in the 8art of balancing0 should thus be able to contribute an excellent item to the home circus4 ,every owner of a dog has taught his pet at some time or another several little tricks4 ,the manager of the circus should therefore get those of his acquaintances who possess dogs to combine in contributing to the programme4 ,then1 again1 a big dog might be clothed in a 8bull's skin0 made from calico1 and a farcical bull-fight arranged4 ,here the circus 8horses0 could be once more employed to good purpose4 ,the 8strong man0 is a character always associated with circuses1 and there is no reason why the home circus should not possess one4 ,the weights must be made from wood1 painted black to represent the genuine article4 ,after the 8strong man0--who should be selected from the most powerfully-built of the reader's acquaintances--has lifted the different 8weights10 apparently with a great deal of exertion1 he makes his exit1 leaving them upon the ground4 ,a little boy then enters1 and picking up all the 8weights10 walks unconcernedly from the ring4 ,as has been before mentioned1 the home circus presents scope for almost every kind of amateur performance1 but it must be left to the ingenuity of the reader to give further variety and make the programme as attractive as possible4 ,as a grand finale1 a stirring1 spectacular sketch should be given--such as an attack upon a settler's hut by redskins1 or a raid on the shanty of a miner4 ,the main idea in this sketch must be to make a lot of noise1 blaze away with toy pistols at frequent intervals1 and burn as much 8colored fire0 as possible4 ,the soldiers or mounted police should arrive in the nick of time1 of course1 and drive the marauders completely from the field4 ,thus everything ends quite happily4 ,,chapter ,,xliv ,,how ,,to ,,make ,,and ,,work ,a ,,peep-,,show ,,an ,,old ,,form ,,of ,,entertainment ,,revived ,a ,,peep-,,show makes an excellent and quite novel form of home entertainment1 and a boy would be well repaid for any trouble to which the construction of one might put him4 ,the first consideration is the dimensions of the show4 ,one can be large enough to occupy the whole of a table1 or so small that it can be made from a soap or cigar box4 ,the best course1 therefore1 will be to leave the question of size to the reader4 ,fig4 #a is an illustration of the peep-show when finished4 ,illustration3 ,,fig4 #a4--,the finished show4 ,the first requisite is a wooden box of the shape shown in ,fig4 #b4 ,as previously mentioned1 for a small show a cigar box does admirably4 ,if you visit a friend who has just commenced smoking1 and ask him for a box1 he will most likely bless you for the opportunity you have given him of throwing away his horribly strong cigars4 ,should no such friend be numbered amongst your acquaintances1 however1 a tobacconist will be pleased to let you have one for a cent or so4 ,having obtained the box1 commence operations upon it4 ,first of all one end must be entirely removed1 not a very difficult task to accomplish4 ,the next thing to do is to make the peep-holes4 ,there is no fixed size for these4 ,they may be large enough for both eyes to be applied1 or to permit only one to gaze through4 ,but provided they are of sufficient dimensions to allow the 8audience0 to obtain a comprehensive view of the interior that is all that is required4 ,the number of peep-holes must1 of course1 be regulated by the size of the show4 ,if the reader possesses a fretsaw the making of the holes will present no difficulty4 ,the best method to be adopted by those who have not one of these useful instruments1 is to make small holes in the necessary places with a red-hot poker4 ,they can then be easily whittled to the desired size with a penknife1 the edges being finished off with a piece of emery paper4 ,should the reader wish to make his show 8extra smart10 he can putty a piece of glass inside the box over the holes4 ,but this is not essential4 ,illustration3 ,,fig4 #b4--,showing back view of stage front and lighting4 ,illustration3 ,,fig4 #c4--;,candle stand and roof protector4 ,next obtain a piece of cardboard1 and from it cut out a stage front to fit the interior of the box1 as shown in ,fig4 #b4 ,this front must be painted in bright colors and glued inside the box about #c inches from the end opposite to that at which the peep-holes have been made4 ,the dotted lines in the illustration of the finished show 7,fig4 #a7 indicate the position of this stage front4 ,a reference to the same diagram will also show a small door at the side of the show 7,d1 ,fig4 #a74 ,this must next claim our attention4 ,simply cut a small aperture about #c inches wide by #d inches deep1 and hinge the oblong of wood thus obtained back into its position by means of a piece of linen and glue4 ,the object of this door is to enable the showman to attend to the lighting of his show1 done by means of a candle1 or1 if necessary1 two or three candles4 ,the lights are placed behind the stage front in such a position that they are invisible to those gazing through the peep-holes4 ,in order that the candles shall not scorch the roof1 they should be placed upon pieces of tin1 bent to the shape shown in ,fig4 #c4 ,the first portion of the show is now complete1 and we will turn our attention to the second1 and more important section4 ,another raid must be made upon the tobacconist's or grocer's and a second box procured similar to the first4 ,it is necessary that this box should be of the same width1 and at least twice as high as the first is deep4 ,this box is represented by ,b1 ,fig4 #a4 ,stand it on end and place the other against it in the manner shown by the diagram4 ,now take a pencil and mark a line across the second box at its junction with the first4 ,with a fretsaw or penknife make a cut along this line1 and then completely remove the square of wood below this cut4 ,a glance at ,fig4 #d will make this clear4 ,illustration3 ,,fig4 #d4--,scene-raising apparatus4 ,the back of the box must be taken off and hinged on again in the form of a door4 ,this is to enable the youthful showman easily to execute repairs if anything 8goes wrong with the works40 ,it is now time to turn attention to the most important portion of the show--the scenes4 ,if the reader possesses any artistic ability1 he cannot do better than paint them himself4 ,a few hints upon this subject will perhaps be useful4 ,he must pay a visit to a stationer's1 and purchase a supply of white drawing-card1 such as is used by artists4 ,a fair-sized sheet costs only two cents4 ,having procured this he must lightly sketch1 in pencil1 the first scene upon it4 ,if he be at all doubtful as to his artistic abilities1 however1 the following is an excellent plan to adopt4 ,armed with a pencil and piece of tracing-paper cut to the size of the scenes1 he should carefully examine the various illustrations appearing in magazines4 ,a short search should reveal a mountain1 a mass of foliage1 a waste of sea1 or some other subject suitable for the background of the first scene4 ,he must then get to work with the pencil and trace this upon the tracing-paper4 ,another search will bring to light something adaptable for the middle-distance4 ,lastly1 a group of objects for the foreground must be selected1 and the whole transferred first to the tracing-paper and thence to the drawing-card4 ,thus by taking a background from one illustration and a foreground from another1 almost any scene may be built up4 ,after being sketched-in in pencil the scenes must be colored4 ,this should be done with a view to general effect rather than perfect detail4 ,first the predominant colors should be laid on in a bold wash1 then the objects in the background painted in4 ,the coloring must be as vivid as possible1 in fact1 almost gaudy4 ,instead of each scene representing a single incident1 it is preferable to weave the whole series into some sort of a narrative1 such as 8,a ,voyage round the ,world10 8,with ,shackleton to the ,south ,pole10 or1 if the reader is very imaginative1 8,round the ,united ,states in an ,aeroplane40 ,having procured the scenes--they can number from half-a-dozen to a score--proceed to fix them in the show4 ,fig4 #e gives an interior view of scene-raising apparatus4 ,illustration3 ,,fig4 #e4--;,interior view of scene-raising apparatus4 ,a hole must first be bored in the center of each scene and pieces of stout thread knotted in them4 ,a series of diminutive wire-rings1 corresponding numerically to the number of scenes1 must be fixed into the roof of the box in the position indicated by the dots at ,a1 ,fig4 #d4 ,fig4 #e shows position of wire-rings at ,a1 ,b thread1 and ,c loop for scene-raising4 ,the pieces of thread must be carried through the rings at ,a1 bent at right angles at ,b1 and brought to the outside of the box through a number of small holes 7,b1 ,fig4 #d74 ,it will now be observed that when one of these threads is pulled1 the scene to which it is attached is lifted swiftly out of view of the audience and behind the top portion of the box4 ,in order to prevent the scenes and threads becoming entangled when raised and lowered1 thin strips of wood should be glued up either side of the box1 thus making a series of grooves in which each scene can work4 ,in ,fig4 #d the first scene has been raised1 leaving one of these grooves displayed to view4 ,another reference to this diagram 7,c1 ,fig4 #d7 will show a number of small nails corresponding to the holes at ,b4 ,when a scene is pulled up1 the wire-ring at the end of the thread can be slipped over this nail1 thus preventing its dropping down again4 ,it now remains only to put the two sections of the peep-show together4 ,this is easily done4 ,simply push one box firmly against the other in the manner shown in ,fig4 #a1 and secure them either by means of small brads or strong glue4 ,the whole contrivance can then be painted and decorated to suit the taste of the young showman1 and everything is ready for the first 8performance40 ,the showman lights his candles1 places the show upon the table in a convenient position1 and gets his 8audience0 to look through the peep-holes4 ,then he starts upon his description of the first scene1 making it as entertaining as possible by well padding with jokes4 ,when he has finished with the first scene--,zr-r-rip6--he pulls the thread1 the picture is whisked out of the audience's view before they quite realize what has happened1 and the next scene is displayed4 ,thus he will go through the whole series of pictures1 and then--well1 after that1 ,i trust he will be listening to the congratulations of the audience upon his success as a peep-show man4 ,,chapter ,,xlv ,,the 8,,mechanical0 ,,peep-,,show ,,secrets ,,of ,,lightning ,,transformations ,,there is another variety of peep-show well worthy of attention4 ,it is known as the 8mechanical0 peep-show4 ,a short account of the finished show will not be out of place before proceeding with a more detailed description4 ,upon looking through the peep-holes the interior of a cottage is perceived1 including side wings4 ,the next moment1 however1 a faint click is heard--and the interior of the cottage miraculously vanishes1 giving place to a scene in a forest glade6 ,the simplest and most satisfactory manner of explaining this marvelous transformation is to describe how one of these 8mechanical0 shows may be made4 ,procure a wooden box similar to the first of those employed in the manufacture of the previous show4 ,having decided upon the number of peep-holes1 cut them out in the manner already described4 ,another 8stage front0 must then be fixed in position about #c inches from the peep-holes 7,fig4 #a74 ,for the sake of convenience it is advisable to turn the box upside down1 with the lid at the bottom instead of the top4 ,this will permit the interior of the show being attended to without unnecessarily disturbing the mechanism4 ,having1 for the time being1 finished with the body of the peep-show1 turn your attention to the internal parts4 ,these are by no means complicated4 ,illustration3 ,,fig4 #a4--;,handles and tin clip for holding scenes4 ,first obtain a piece of white drawing-card1 and cut it to fit exactly the back of the box4 ,then take another piece1 half the size of the first1 and hinge it by means of a strip of linen and gum to the center as shown in ,a ,a1 ,fig4 #b4 ,with the flap thus formed hanging downwards1 place the card upon the table1 and proceed to paint thereon a forest scene 7,c1 ,fig4 #b74 ,if a suitable illustration can be procured from a magazine it will only be necessary to paste it on the card and carefully trim the edges4 ,illustration3 ,,fig4 #b4--;,a double-barreled scene4 ,having satisfactorily completed the forest scene1 bend the flap upwards1 thus hiding the picture1 leaving in its place a blank piece of card4 ,brushes and paints must again be employed1 and the blank card transformed to the interior of a cottage4 ,the result is the 8double-barreled0 scene represented by ,fig4 #b4 ,a glance at this diagram makes it apparent that by simply dropping down1 or lifting up1 the hinged flap ,d1 the scene can be changed at the will of the operator4 ,fig4 #c is an example of one of the wings employed in the show4 ,like the scene1 it is 8double-barreled40 ,a strip of white cardboard is the first requisite4 ,its size will be dependent upon the dimensions of the show4 ,illustration3 ,,fig4 #c4--,part of double-barreled wing4 ,draw a line down the center of the card 7,fig4 #c74 ,then proceed to paint upon one side of this line a section of a tree1 or some other piece of forest foliage 7,a1 ,fig4 #c74 ,having done this1 turn the card over and paint upon the reverse side a curtain1 window1 or anything else suggesting a cottage interior at ,b1 ,fig4 #c4 ,this double wing must then be carefully cut out in the manner shown4 ,next take a piece of wood slightly longer than the wing1 and about -inch wide by -inch thick4 ,glue this to the center of the wing as shown at ,c1 ,fig4 #c4 ,a closer reference to this diagram reveals that the strip of wood is whittled to a point at ,e2 also that a wire 8handle0 is fixed to the other extremity1 ,d4 ,at present1 however1 this 8handle0 should be held in reserve4 ,three other wings have also to be made4 ,fig4 #d suggests the various forms they may take4 ,the segments of the show are now complete1 and all that remains is to put them together4 ,first take the hinged scene and fix it in the end of the box opposite the peep-holes4 ,to prevent the flap falling down at an inopportune moment and displaying the wrong scene1 a slit must be made at the top of the box and a small strip of tin inserted 7,b1 ,fig4 #a74 ,this strip of tin is also shown at ,b1 ,fig4 #b4 ,it will be found that when this is pushed down1 it clips on the flap ,d1 holding it against ,c4 ,on being pulled up1 however1 the flap is released1 and1 falling down1 changes the picture4 ,to lift the flap again1 attach a piece of thread to one corner1 carrying the loose end out through a small hole in the back of the box4 ,the wings should be placed in the interior of the show1 in the position illustrated by ,fig4 #d4 ,the wooden point at the base of each wing acts as a pivot in a small hole made in the bottom of the box4 ,four corresponding holes must also be bored at the top4 ,the wire 8handles0 next claim attention4 ,they should be pushed through the small hole1 as shown in ,fig4 #a1 and fixed firmly in each wing4 ,the holes must1 in every case1 be large enough to permit the wings to revolve easily and with the least possible resistance4 ,each 8handle0 is connected by a straight piece of wire having both ends bent in the form of a small ring 7,g1 ,fig4 #d74 ,it will also be noticed in this diagram that one of these 8handles0 has a considerably longer shank than the others 7,h1 ,fig4 #d74 ,this is to enable the showman to bring about the transformation previously explained4 ,illustration3 ,,fig4 #d4--,simultaneous revolving wings4 ,a glance at ,fig4 #d will make it apparent that when ,h is turned1 the four wings revolve also4 ,thus the wings for the forest scene may be suddenly switched out of sight1 and those for the interior of the cottage displayed1 or vice versa1 at the will of the operator4 ,to prevent the wings revolving too far1 a small block of wood should be nailed to the bottom of the box at the base of the first wing1 in the position shown by ,x1 ,fig4 #d4 ,the mechanical peep-show is now finished4 ,after the showman has grouped his audience at the peep-holes1 and all is ready for the transformation1 he simply turns the wire handle with one hand1 and with the other simultaneously raises the clip securing the back scene4 ,all that is heard by those at the peep-holes is a faint click as the wings revolve4 ,then they perceive1 with no little bewilderment1 that in some inexplicable manner the interior of the show has been completely changed4 ,the showman will be wise to refrain from permitting them further to examine the apparatus1 however1 for when they realize the absurdly simple mechanism by which the transformation is wrought1 their bewilderment will vanish even more rapidly than do the scenes themselves4 ,,chapter ,,xlvi ,,how ,,to ,,make ,,and ,,work ,a ,,punch ,,and ,,judy ,,show ,,his ,,highness ,,of ,,the ,,hump ,,mr4 ,,punch and ,mrs4 ,judy at one time held quite an exalted position among forms of entertainment dear to the heart of the ,british boy4 ,as far back as the reign of ,queen ,anne1 a well-known periodical devoted quite a considerable space to a criticism of a ,punch and ,judy performance6 ,illustration3 ,,fig4 #a4--,the framework4 ,illustration3 ,,fig4 #b4--;,frames hinged together4 ,moreover1 in ,england1 less than fifty years ago it was no unusual occurrence for a traveling showman to hire a barn or large room and give a whole evening's performance with his ,punch and ,judy4 ,punch is just as amusing indoors as out1 and the boy who is interested in giving different forms of home entertainment will find a ,punch and ,judy an excellent addition to his other shows4 ,the stage upon which ,mr4 ,punch performs his amusing antics is simple of construction4 ,it will first be necessary to procure six uprights1 each #g feet long and #a inch thick2 and nine crosspieces each #b feet long and #a inch thick4 ,take a pair of uprights and join them together with three crosspieces--one at each end and the other in the center4 ,the result will be a framework such as is shown in ,fig4 #a4 ,the four remaining uprights must be similarly treated4 ,altogether three frames will have been constructed1 and they must be hinged together1 as shown in ,fig4 #b4 ,illustration3 ,,fig4 #c4--,the platform4 ,this may be done with either strips of cloth or small metal hinges4 ,the latter may be purchased from any hardware store for a few cents4 ,it will be noticed that the framework has only three sides4 ,the fourth side is to be occupied by ,punch's platform1 which merely consists of a small board about #f inches wide and #b feet #f inches long4 ,an oblong nick #a inch by inch should be cut in each side of this platform1 as shown both in ,fig4 #c and ,a1 ,fig4 #d4 ,a cut of similar dimensions must also be made #e feet #f inches from the ground in both the front uprights of the framework 7,b1 ,fig4 #d74 ,the incisions in the platform dovetail into those in the uprights4 ,to make all quite secure two small catches 7,a1 ,fig4 #d7 are fitted to the ends of the platform1 and these clamp round the uprights1 holding everything firmly in position4 ,illustration3 ,,fig4 #d4--;,arrangement for supporting platform on frame4 ,the framework is now complete1 and with the exception of the small space above ,punch's platform1 should be covered with dark red or green paper cambric1 which may be purchased at five or six cents a yard4 ,the width of the cloth will be found just over #b feet #f inches1 i4e4 the same width as a single frame4 ,the best course1 therefore1 will be to cut the cloth into seven-foot lengths and nail it with small tacks or brads over each frame separately4 ,illustration3 ,,fig4 #e4--;,front of show complete4 ,the space below ,punch's platform1 however1 is covered in a different manner4 ,a row of tacks or brads is driven into the front of the two uprights to about three-quarters of their length4 ,a corresponding number of small curtain rings--to be obtained at any hardware store for #e cents a dozen--are then sewn down the sides of a piece of the cambric #e feet #f inches long4 ,by this means the cloth may be hooked to the front of the show1 as illustrated in ,fig4 #e4 ,,packing ,,up ,,the ,,show ,when the ,punch and ,judy ,show has to be packed away1 it is merely necessary to unhook the front cloth1 take out the platform1 and fold the framework up as though it were a screen or a clothes' horse4 ,but before this trial 8pack up0 is attempted1 there are one or two small but important additions to be made4 ,first of all1 the top of the opening at which ,punch presents his cheery countenance must be decorated4 ,this is easily done4 ,two small nails are driven perpendicularly into the top of the front uprights1 and a stout piece of wire stretched between them4 ,a frieze of cambric is then hemmed round the wire 7,fig4 #e74 ,the wire should be simply hooked on the nails1 so that it can easily be detached when the show is folded up4 ,a similar frieze must also be tacked along the edge of the platform4 ,with regard to the scenery6 ,mr4 ,punch is very modest in this direction1 for he requires only two wings with which to garnish his abode4 ,these generally take the form of a scene of the top window of a house1 and the front of a shop or a portico4 ,the front and back of one of these wings are shown in ,figs4 #f and #f;a respectively4 ,it consists merely of a framework of wood1 #a feet long by #i inches wide1 over which a piece of white cardboard is nailed or glued4 ,the desired scene is then executed on the cardboard in either oil paint1 water color1 or crayon4 ,the window itself should be cut completely out and hinged back again with a strip of linen1 so that ,punch and the other characters may poke their heads through 7,fig4 #f;a74 ,the complete wings must then be hinged one on each side of the show1 as seen in ,fig4 #g4 ,in this diagram the wings are illustrated as seen from the inside4 ,illustration3 ,,fig4 #f4--;,exterior view of window4 ,illustration3 ,,fig4 #f;a4--,back of wing4 ,illustration3 ,,fig4 #g4--,swing-doors opening inwards4 ,,the ,,puppets ,the 8stage0 is now complete1 and it remains but to make the grotesque little puppets that perform upon it4 ,pride of place must be given1 of course1 to the redoubtable ,punch himself4 ,the most difficult part of this puppet to construct is the head4 ,there are very few boys skillful enough to carve out the correct features from an ordinary block of wood2 therefore they must find some other foundation upon which to work4 ,a ,dutch doll1 to be purchased at any toyshop for a few cents1 serves splendidly4 ,whilst the reader is in the toyshop buying the one doll1 he may as well extend his order to about a dozen more2 not only are they useful for making ,punch1 but their stony countenances can be transformed into those of ,judy or any of the other characters4 ,the dolls should all be decapitated1 and have their hands and feet removed as well4 ,one of the heads must then be selected1 and the little snub nose taken off with a sharp knife4 ,a semicircular line should next be penciled right across the lower part of the face1 and all the wood below this line cut away to the depth of inch or so 7,fig4 #h74 ,a 8false0 chin is to go here1 whilst a 8false0 nose must adorn the spot whence the original member was removed4 ,illustration3 ,,fig4 #h4--,preparing ,punch's face4 ,illustration3 ,,fig4 #i4--,punch's nose and chin4 ,both nose and chin can be whittled from separate pieces of wood--the doll's discarded body will do4 ,fig4 #i shows the shape they should assume4 ,when both have been carved to the reader's satisfaction1 they must be glued firmly in their respective positions1 and the joints hidden by a few judicious touches of the paint-brush4 ,illustration3 ,,fig4 #aj4--,pattern for ,punch's coat4 ,illustration3 ,,fig4 #aa4--,mr4 ,punch4 ,in the case of the nose1 a small tag of wood must be left1 as in ,fig4 #i1 and a hole bored in the head to receive it4 ,this will make the joint more secure than if it were simply glued1 and as ,punch's nose receives more than its fair share of knocks1 the precaution of having it firmly fixed is not altogether an unwarrantable one4 ,the adjusting of the 8false0 nose and chin is by no means a simple task1 requiring1 as it does1 considerable ingenuity4 ,but on the whole it will be found much easier than having to carve the entire face4 ,the clothing of ,punch is best left in the hands of the reader's mother or sister4 ,although it is astonishing what a boy can do with needle and thread when necessity puts him to the trial1 making the tiny suit of scarlet calls for an amount of patience and a carefulness over detail that only a lady can be relied upon to exercise4 ,fig4 #aj shows the pattern for ,punch's coat4 ,the cloth selected for the garment must be folded double1 cut to the pattern given1 then hemmed round the edges as indicated by the dotted lines4 ,the sleeves are made separately1 being afterwards sewn into position on the jacket4 ,when the reader's mother or sister has finished the little scarlet coat1 ,punch's head must be glued by its neck into the collar1 a lace frill being afterwards attached to finish off the joint neatly4 ,the hands from the ,dutch doll should next be glued into the sleeves1 and smaller frills similarly attached4 ,before the head is stuck in position1 however1 a hole must be bored in the base of the neck just large enough to admit the tip of the forefinger4 ,for ,punch's nether garments two cylinders of cloth only are necessary4 ,the feet from the ,dutch doll must be glued into one end of each cylinder1 whilst the other ends should be sewn individually inside the front of the coat4 ,a conical hat must next be made1 and either glued or tacked to the head4 ,after the hump has been well stuffed with wadding1 ,punch should have assumed an appearance similar to that of the gentleman depicted in ,fig4 #aa4 ,,working ,,the ,,figures ,to 8work0 the figures the performer first puts his hand up the back of the coat1 and sticks the tip of his forefinger in the hole in the head4 ,he then places his thumb and second finger in the diminutive sleeves4 ,by this means the puppet can be made to fling his arms about1 and move his head in a most grotesque fashion4 ,the other puppets are constructed on practically the same lines2 but in the majority of cases it will be unnecessary to provide them with knickerbockers and legs1 as the audience see only the upper part of the bodies above the platform4 ,in these circumstances the attire can take the form of a simple1 long1 loose gown1 such as that worn by the ,clown in ,fig4 #ab4 ,illustration3 ,,fig4 #ab4--,the ,clown4 ,illustration3 ,,fig4 #ac4--,skull head for the ,ghost4 ,judy's prepossessing features may be made from another of the dolls' heads by substituting a beaked nose for the original organ4 ,the lady's dress consists of a gown made from some red spotted material4 ,by a judicious application of paint1 and by gluing on colored tufts of wood for hair1 the remaining heads can be transformed into craniums suitable for the other puppets4 ,,the ,,ghost ,the ,ghost1 however1 may receive a little special treatment4 ,one of the heads should be vividly painted in black and white to represent a skull4 ,then attach it to a wooden stick1 decorated with a series of black rings1 as shown in ,fig4 #ac4 ,the body consists of a long white gown similar to the other dresses1 the only difference being that the head is left quite free in the collar4 ,when the mysterious visitor makes his first appearance his head is right down upon his shoulders1 as in ,fig4 #ad4 ,directly ,punch becomes too familiar1 however1 the showman can make the ,ghost suddenly shoot out his long neck1 thereby giving the old gentleman a bad attack of the 8nerves40 ,there remains one other piece of 8stage furniture0 to be constructed4 ,this is the gallows--which plays such an important part in the exciting scene where ,punch turns the tables on ,jack ,ketch4 ,take a piece of wood six inches long1 half an inch wide1 and an eighth of an inch thick1 and nail it at right angles to the extremity of another piece the same width and thickness1 only eight inches long4 ,a third strip of wood must then be nailed diagonally between the other two4 ,the completed article will have the appearance of ,fig4 #ae4 ,the end of the longer arm must be whittled to a blunt point1 and a hole bored in ,punch's platform to receive it4 ,two small holes should also be bored in the short arm4 ,they must be about two and a half inches apart1 and a piece of string knotted in the first1 then looped down and threaded through the second1 as shown in the diagram4 ,it is into this loop that the wily ,punch persuades ,jack ,ketch to place his head1 when the old fellow gleefully gives a sharp pull to the other end and hangs him4 ,illustration3 ,,fig4 #ad4--;,ghost as seen at first appearance4 ,illustration3 ,,fig4 #ae4--,the gallows4 ,to those readers who do not possess a dog1 at first sight ,toby presents a difficulty which it seems impossible to overcome4 ,but all that is necessary is to cut the head from a wooden toy dog and attach it to a stiff muslin gown1 over which some black paint has been spotted to represent the tight skin of a mongrel terrier4 ,by placing the hand up the gown1 this 8,toby0 can be worked similarly to the puppets4 ,illustration3 ,,fig4 #af4--,the squeaker4 ,many professional showmen use what is known as a 8,punch squeaker0 for imitating ,mr4 ,punch's voice4 ,most boys1 with their well-known genius for mimicry1 will find it much easier to assume the high-pitched tenor of ,punch without any artificial aid4 ,however1 for the benefit of those who are anxious to cheer the neighbors with the dulcet notes of the squeaker1 instructions are given for making one4 ,first obtain a piece of tape six or seven inches long and half an inch wide2 also two pieces of tin about two inches long and half an inch wide4 ,both pieces of metal must then be bent slightly in the center1 and a single layer of tape placed between them4 ,the remaining tape is next bound firmly round the outside1 all being held fast with thread4 ,the finished squeaker is illustrated in ,fig4 #af4 ,before being used it should be well soaked in water4 ,to produce the required sound place the squeaker between the teeth1 half speaking and half blowing the words through it4 ,the story of ,punch is so well known that most boys will be able to work out a performance of their own4 ,but those who wish to give the correct version of the adventures encountered by our ,hero of the ,hump will find at any theatrical publishers' a little book giving the complete dialogue4 ,,chapter ,,xlvii ,,dissolving ,,views ,,without ,a ,,magic ,,lantern ,,previous to the introduction of the cinematograph1 dissolving views ranked amongst the most popular of entertainments4 ,by means of a specially-constructed magic lantern1 a painted picture from a glass slide is thrown upon a screen4 ,then1 at the will of the operator1 the picture apparently dissolves into a haze1 through which a second picture gradually makes its appearance4 ,subjects are usually chosen which specially adapt themselves to such an optical illusion4 ,for instance1 a picture might be shown of a small country village1 which slowly dissolves into a view of the same place several years after1 when it has developed into a thriving and populous town4 ,but the specially constructed magic lantern necessary for these dissolving views is a very costly piece of apparatus1 the purchase of which would entail the careful saving of two or three years' pocket money4 ,however keen a boy may be to provide some form of home entertainment for the amusement of his friends1 such an alarming prospect would make his keenness dissolve as completely as the pictures he hoped to display4 ,illustration3 ,,fig4 #a4--,show as seen by audience4 ,it is the purpose of this chapter1 however1 to explain how an apparatus may be constructed for a small sum that will bring about effects similar to those of the special magic lantern costing many dollars4 ,fig4 #a depicts the show as seen by the audience4 ,it consists principally of a framework not unlike that of a model stage1 the dimensions of which must be left to the decision of the reader4 ,for the sake of convenience1 however1 it will be advisable to explain the method of constructing apparatus capable of displaying views about the size of a picture postcard4 ,a stage front similar to that in ,figs4 #a and #b should first be cut from either thin wood or stout cardboard4 ,the size of a picture postcard is usually #c inches by #e inches4 ,consequently the opening in the stage front must be about #f inches by #h inches4 ,this allows for a nice margin around each dissolving view4 ,it will be noticed from the diagrams that both sides of the show are fitted with two small rods1 bearing miniature curtains4 ,these are to prevent the audience seeing what the showman is doing 8behind the scenes40 ,their mode of fixture is explained in ,fig4 #c4 ,four pins1 with their heads nipped off1 are bent in the shape of a horseshoe1 and a pair driven into each side of the stage front 7,a1 ,fig4 #c74 ,illustration3 ,,fig4 #b4--,show from back view4 ,the two rods1 which can consist of thin pieces of cane1 are then pushed into the sockets thus formed1 and the curtains threaded upon them by means of a wide hem sewn along the top4 ,the advantage of this method of fixture is that when the show is packed up1 the curtains can be easily removed by merely pulling the rods from their horseshoe-shaped sockets4 ,illustration3 ,,fig4 #c4--;,back view of partially constructed apparatus4 ,the floor or base of the show must next be provided4 ,procure a piece of wood about #aj inches long1 -inch thick1 and of the same width as the stage front4 ,a block of wood is then nailed or glued along one end of this1 and the stage front fixed firmly to it 7,fig4 #b74 ,having done this1 make a journey to the nearest glazier's1 and purchase a piece of glass of about the same dimensions as the wooden base4 ,this should not cost more than ten cents4 ,clean the glass thoroughly1 and rest it against the top of the stage-front at an angle of about #fj 7,fig4 #c74 ,next take a picture postcard1 and lay it on the wooden base between the end of the glass and the stage front4 7,see ,b1 ,fig4 #c47 ,if the room now be darkened1 and a bright light thrown upon the postcard1 its reflection will be clearly visible on the glass1 and to those looking through the stage front it will appear exactly similar to the view projected upon a screen by a small magic lantern4 ,should the reflection be at all lopsided1 the angle of the glass must be altered until this defect is remedied4 ,a block of wood1 or an ordinary cigar-box1 must then be placed upon the wooden base with its edge along the glass1 and nailed securely in position4 7,see ,a1 ,fig4 #d47 ,illustration3 ,,fig4 #d4--,showing position of picture postcard and glass screen4 ,three pieces of cardboard are the next requisites4 ,one piece is to be glued to the block of wood or cigar box at the back of the show2 the other along one side1 and the last over the top1 as depicted in ,fig4 #d4 ,it is now necessary to slide out the glass and paint the whole of the interior dead black4 ,illustration3 ,,fig4 #e4--,lighting apparatus with serrated shutter4 ,,exhibiting ,whilst the paint is drying the young showman can turn his attention to the lights4 ,these merely consist of two lamps--photographic dark-room lamps are most suitable1 or a wax candle will serve quite well4 ,each lamp is provided with a cardboard shutter serrated at the bottom1 as shown in ,fig4 #e4 ,it is this serration that imparts the dissolving effects to the various views4 ,when the paint is dry the first exhibition may be given4 ,the room in which the entertainment is to take place must be darkened2 the glass placed in position between the cigar-box and the stage front1 and the lamps lit4 ,two picture postcards must also be obtained2 the first being placed upright upon the cigar-box at the back of the show1 and the other on the wooden base between the glass and the stage front4 ,a glance at ,fig4 #d explains this4 ,the two lamps must now be so arranged that the light from one1 whilst brightly illuminating the first postcard1 leaves the portion of the show behind the glass in complete darkness2 and the light from the other falls solely upon the card on the cigar box4 ,if the shutter of the first lamp is now closed1 and that of the second opened1 the audience will see only the postcard at the back1 set in a frame of dead black4 ,the exhibitor should then slowly press down the shutter of the second lamp1 and simultaneously raise that of the first4 ,the serrations--in one case gently cutting off the light1 and in the other permitting it to stream forth gradually--will have the effect of making one postcard slowly dissolve from view1 and give place to the reflection of the other4 ,the back of the show being in complete darkness1 the glass acts as a perfect mirror1 and whilst the audience are gazing at the reflection of the first card1 a fresh view may be substituted for that at the back1 without their being aware of the change4 ,having accomplished this1 the showman must uncover the second lamp and push down the shutter of the first4 ,the result will be that the reflected view fades from sight1 and the fresh picture postcard is displayed4 ,it is then a simple matter to slip the card already used from its position between the glass and stage front1 and insert another in its place4 ,in this manner a succession of views may be made to dissolve into one another4 ,as has already been mentioned1 there is no limit to the dimensions of such a show--the showman being guided by the size of the pictures he is able to obtain4 ,picture postcards are always procurable1 and no difficulty should be experienced in obtaining slightly larger views from magazines1 art catalogues1 c4 ,of course1 in the very large shows a much brighter light is required1 and four lamps must be used instead of two4 ,,chapter ,,xlviii ,,indoor ,,fireworks ,,without ,,the ,,use ,,of ,,explosives ,a ,,firework display without the employment of brimstone and saltpeter is somewhat unusual4 ,but it is quite possible to give such a display1 and to do so without the heavy expense usually attending ,fourth of ,july pyrotechnics4 ,it is first necessary to make a frame or 8stage10 upon which to present the firework display4 ,in appearance this frame greatly resembles a three-winged clothes-horse2 in fact1 one of these humble home 8thoroughbreds0 may1 after slight alteration1 be easily pressed into service4 ,illustration3 ,,fig4 #a4--,showing frame and side wings4 ,the question of dimensions rests entirely with the exhibitor4 ,fig4 #a shows a diagram of the frame4 ,as will be seen1 its front is divided into two compartments1 ,a and ,b4 ,the lower compartment1 ,b1 is occupied by a scene of some ,exposition ,building4 ,this must be made of cardboard1 and can either be permanently nailed to the frame1 or so constructed as to slide in and out between two grooves4 ,the advantage of the latter mode of fixture is that when the owner of the firework show tires of one scene he can readily substitute another4 ,to represent the windows and glass domes of the ,exposition ,building1 small squares should be cut from the cardboard scene and tissue paper pasted over them4 ,when a light is placed behind1 the effect will be very pleasing1 and will considerably enhance the reality of the firework display4 ,after draping the two side wings 7,c and ,d1 ,fig4 #a7 with red or green cloth1 the framework or 8stage0 may be set aside1 and attention paid to the fireworks themselves4 ,they are by no means of a character calculated to send cold shivers down the backs of timid parents4 ,fig4 #b shows a portion of one4 ,it simply consists of a piece of cardboard1 slightly larger than the top frame 7,a1 ,fig4 #a74 ,a design similar to that in the diagram must be lightly penciled upon it4 ,then1 with a rather coarse needle1 prick out this design with a series of small holes1 through which the light can easily penetrate4 ,it is also necessary to make four larger holes at each corner of the card1 and to drive four wooden pegs or nails into the corresponding corners of the frame4 ,by means of these the cardboard design can be quickly removed from or fixed to the 8stage40 7,see ,d1 ,fig4 #d47 ,illustration3 ,,fig4 #b4--,showing firework design formed by series of small holes4 ,illustration3 ,,fig4 #c4--,revolving wheel1 spaces fitted with colored tissue paper4 ,from another piece of cardboard cut out a wheel about #f inches in diameter1 and of the shape shown in ,fig4 #c4 ,the numerous spaces between the spokes should be filled with pieces of transparent tissue paper of various colors4 ,a small stand upon which this wheel can revolve is the next requisite4 ,this simply consists of a flat wooden base1 with two wooden uprights glued firmly upon it4 ,these uprights are connected at one extremity by a short piece of wire--an ordinary pin will serve the purpose excellently--forming an axle for the cardboard to revolve upon4 ,fig4 #c makes this quite clear4 ,now to test the effect of the first firework4 ,fix the cardboard design in the upper portion of the frame1 and stand the whole upon a table4 ,then take a magic lantern 7,b1 ,fig4 #d71 or1 failing this1 a bull's-eye lantern or cycle lamp1 and focus its rays upon the cardboard design4 ,next place the 8wheel0 7,c1 ,fig4 #d7 in such a position that the beam of light shines through one of the tissue paper films1 and then continues its original course to the screen4 ,when everything is in position1 the room in which the display is to take place must be darkened4 ,having done this1 grip the edge of the 8wheel0 by the thumb and forefinger1 and spin it sharply round4 ,illustration3 ,,fig4 #d4--;,firework apparatus complete4 ,as it swiftly revolves various colored beams of light will be thrown in rapid succession on the cardboard screen1 and1 penetrating the minute holes1 will present the appearance of a fountain of brilliant1 life-endowed sparks4 ,,the ,,firework ,,boxers ,but our firework show gives scope for far better effects even than this4 ,some time ago great surprise was caused at an exhibition by the production of a firework boxer4 ,with a little care and ingenuity1 the same surprising result may be produced in the following manner3-- ,by means of a needle prick out two boxers in a defensive position 7,c and ,d1 ,fig4 #e74 ,the others must then be designed2 only in this case1 one boxer is administering the coup de grace to his unfortunate opponent4 ,two grooved strips of wood are next glued to the top and bottom1 as shown at ,a1 ,fig4 #e1 and two pieces of cardboard slid between them 7,b1 ,b74 ,these two cards should then be connected by three pieces of wire1 as shown in the diagram1 and have their corners rounded off in order to insure free movement in the grooves4 ,by pulling the left wire one pair of figures is hidden and the other revealed4 ,thus we have two firework boxers1 who will fight a short but decisive contest4 ,illustration3 ,,fig4 #e4--,the firework boxers4 ,there is another type of 8indoor firework0 working on the same principle as the above4 ,a reference to ,fig4 #f will put the exhibitor in possession of all its details4 ,illustration3 ,,fig4 #f4--;,another type of indoor fireworks with changing views4 ,at first only the central 8,catherine wheel0 is seen by the audience4 ,then1 on the wire to the left being pulled1 and the cardboard to which it is attached raised1 a fountain of fire shoots into the air and bursts into a number of stars4 ,a similar occurrence takes place on the right1 and by pulling the central wire the 8,catherine wheel0 is made suddenly to vanish and give place to the spectacle depicted at ,d4 ,care should be taken when manipulating these 8mechanical0 fireworks that the hand does not come between the light and the framework4 ,of course1 on the above principles1 numerous other designs may be made for the show1 and a stock of 8fireworks0 manufactured that will dwarf any supply4 ,,chapter ,,xlix ,,how ,,to ,,make ,a ,,telephone ,,for ,,use ,,at ,,home ,,it is quite easy to make a telephone1 which besides affording amusement1 will1 at times1 be found extremely useful4 ,fitted from the ground floor to the rooms above1 or from your friend's house to your own1 it is impossible to overestimate its convenience4 ,illustration3 ,,fig4 #a;a4--,section of case4 ,of course it is quite possible to buy the parts of a telephone ready made and fitted together1 but it is much more interesting to construct the apparatus yourself4 ,the whole affair is so easily and cheaply made that no difficulty can possibly be experienced1 and you have only to exercise care in order to succeed in constructing a very handy and interesting machine4 ,illustration3 ,,fig4 #a;b4--,magnet case4 ,for the apparatus to be of any practical use1 a pair of receivers are required--one for the person speaking1 and the other for the person listening4 ,first of all purchase two bar-magnets1 i4e4 straight and magnetized at one end only--not the ordinary horse-shoe magnets4 ,these bar-magnets should be about four inches long1 and can be bought from any electrician2 at the same time obtain from him an ounce of silk-covered wire1 ,no4 #cf4 ,before taking the magnets from the shop it would be as well to test them4 ,this can be done by placing the marked end of one to the unmarked end of the other1 and unless the former is able to support the weight of the latter1 do not take either1 but insist upon the electrician giving you stronger ones4 ,having made your purchase1 set to work upon the actual apparatus4 ,the first things to be made are the wooden cases for the magnets1 and these require care in construction4 ,from a straight broom-handle cut off two lengths1 each a little longer than the magnets1 i4e4 about #d inches long1 and split them carefully down the middle with a chisel4 ,along the center of each of these halves cut a groove 7,b1 ,fig4 #a;a71 in such a manner that when the two halves are put together they fit properly1 and there is room for the magnet to slip backwards and forwards in the hole running through them4 ,now glue the parts together and you will have two short wooden tubes1 or magnet cases1 as shown in ,fig4 #a;b4 ,,making ,,mouthpieces ,having made the cases for the magnets1 now make the mouthpieces4 ,procure two wooden boxes such as boot-buttons are sold in1 and glue one to the end of each of the wooden tubes you have just made1 cutting a hole in the bottom of the box to correspond with the bore of the case4 ,in ,fig4 #a;a you will see the work1 so far as you have completed it1 shown in section4 ,in the lid of the box cut a clean hole the size of a dime right in the center1 but this lid must not be fastened to the box just yet4 ,the next things to be made are two bobbins upon which to wind the wire--one for each instrument4 ,cut a piece of fairly strong cardboard about -inch wide and just large enough in circumference to fit the marked end of the magnets tightly4 ,divide your ,no4 #cf wire into two equal lengths1 and wind each piece around the bobbins1 leaving the two ends free to the length of about two inches4 ,next slip the magnet1 ,m1 into the groove1 and push it through so that the bobbin1 ,l1 is contained in the box ,c1 ,fig4 #b4 ,make two holes in the bottom of this box1 pass the ends of the wires through them and fasten them with binding screws1 as in the illustration ,h1 ,fig4 #b4 ,the thin plate which vibrates with the voice must next be made4 ,obtain a smooth piece of very thin sheet-iron--of just such a texture as is used by photographers for ferrotypes4 ,take the greatest care to keep this perfectly flat4 ,cut two round pieces large enough to cover the mouthpieces as you will see in ,p1 ,fig4 #c1 where it is shown in section4 ,take the lid in which you have already cut the circular hole and fasten it to the box in such a way that it keeps the iron plate in position 7,q1 ,fig4 #c74 ,illustration3 ,,fig4 #b4--;,arrangement of magnet4 ,illustration3 ,,fig4 #c4--,section of completed instrument4 ,illustration3 ,,fig4 #d4--;,connection with battery4 ,push the magnet very close to1 but not quite touching1 the disc of iron--say th of an inch away1 and fasten it in that position1 either by means of a wooden plug at the other end1 or by driving a screw into the case in such a way that it grips the magnet and holds it firm 7,s1 ,fig4 #c74 ,fill up the hole at the other end of the case with a piece of cork1 glue or screw on the lid1 keeping the opening so that it almost touches the iron disc1 and your telephone is complete4 ,fig4 #c shows in section how it should now appear4 ,it remains only to make the connections with the batteries in the manner shown in ,fig4 #d1 and you will be able to speak with your telephone4 ,it is very possible1 however1 that the voice will carry faintly1 but do not be disappointed1 as this can be very easily remedied by making an apparatus which is usually attached to the telephone1 and is known as ,,the ,,microphone ,illustration3 ,,fig4 #e4--,sectional view of microphone4 ,this instrument1 as its name implies1 serves to make small sounds greater4 ,besides being useful in conjunction with a telephone1 it is also of interest in itself4 ,make a base1 ,,bc1 and an upright1 ,a1 from a piece of thin pine wood1 as shown in ,fig4 #e4 ,buy from the electrician two blocks of carbon such as are used in batteries 7these will cost but a few cents71 each measuring about a cubic inch4 ,in one side of each of these blocks fasten a long binding screw1 whilst in an adjacent side make a hollow with a rat-tailed file or a penknife4 ,then get a small pencil of charcoal such as is used in the large arc lamp1 and cut off a piece #d inches long2 file both ends to a point in the way that you sharpen a pencil 7,e1 ,fig4 #e74 ,having made these various parts1 fit them together4 ,screw the two pieces of carbon to the upright in such a way that one rests upon the base whilst the other is at such a height that the charcoal pencil rests lightly in the hollows1 between the two carbons1 as in ,,dd1 ,fig4 #e4 ,the microphone is now complete1 and can be attached to the telephone as shown in ,fig4 #f4 ,it will be found to increase the sound to such an extent that your voice will be distinctly audible1 and conversation perfectly clear4 ,illustration3 ,,fig4 #f4--;,connection of microphone and telephone4 ,by attaching one receiver and the battery to the microphone as shown in ,fig4 #g1 very slight sounds will be increased to an extraordinary degree4 ,the ticking of a watch seems like so many heavy footfalls1 and if you can succeed in getting a fly to walk across the sounding-board1 as the base is called1 the footsteps will be plainly heard4 ,many interesting experiments can be performed in this manner1 and as the microphone is so easily made1 it is well worth constructing one for the sake of such experiments alone4 ,illustration3 ,,fig4 #g4--;,experiment with microphone4 ,,chapter ,l ,,telegraphy ,,at ,,home ,a ,,galvanometer ,,adapted ,,like most of the inventions that have revolutionized the world1 the electric telegraph is constructed upon the simplest principles4 ,as will be shown1 an instrument for transmitting and receiving messages can easily be made at a very small cost by any one prepared to devote a little care to its construction2 and when completed it will be found of considerable use and convenience4 ,to make a model of the elaborate machines now employed1 which not only receive but print messages in legible ,roman characters1 would be far beyond the scope of any amateur1 necessitating the purchase of many costly parts and requiring a considerable knowledge of engineering to fit them satisfactorily together4 ,but the instrument that can be made according to the following instructions1 is exactly similar to those in use throughout many smaller offices the world over4 ,the telegraph is based upon the following principle4 ,a current of electricity1 passed through a hoop of wire within which a needle is suspended1 will move that needle from left to right1 or from right to left1 according as the wires are attached to one or other of the poles of a battery4 ,this simple apparatus is called a galvanometer4 ,a telegraph instrument is nothing but a galvanometer adapted to convenient usage4 ,before entering upon the method of construction1 it would be as well to inform whoever undertakes this work that the utmost care is necessary in adjusting the various parts4 ,the slightest fault will certainly spoil the whole instrument1 and the least carelessness render all the labor expended utterly useless4 ,now to describe the simplest way to make a receiver and transmitter4 ,three pieces of wood will be required1 a cigar-box furnishing the best material for the purpose2 if you have not one at home1 any tobacconist will let you have one for a few cents4 ,to commence with the base4 ,cut a piece of wood measuring #f inches by #e inches4 ,in this two grooves must be made 7,d ,d and ,e7 according to the measurements shown in ,a1 ,fig4 #a4 ,the width of these grooves must1 of course1 depend upon the thickness of the wood1 for the dial and the upright will have to be fitted into them4 ,illustration3 ,a4--,base of instrument4 ,b4 ,c4--,upright4 ,,fig4 #a4 ,for the dial you will require a piece of wood similar to the base1 but measuring #e inches by #d inches4 ,one end of this should be rounded as shown in ,b1 ,fig4 #a4 ,drill a hole 7,f7 right through this dial1 #c inches from the bottom and #b inches from either side4 ,as a piece of wire will have to revolve easily in this hole1 take great care to cut it cleanly4 ,in the lower end of the dial cut out two notches 7,g ,h71 each according to the measurements in ,b1 ,fig4 #a1 i4e4 -inch deep and -inch wide4 ,each notch must be -inch from its side of the dial4 ,the upright is very easily made1 being simply a strip of wood #c inches by #a inch 7,c1 ,fig4 #a74 ,in this drill a hole 7,k7 #c inches from the end and -inch from either side1 taking the same care as with the hole in the dial4 ,having thus prepared the several pieces of the framework1 the dial should be glued into its groove4 ,a small square block of wood glued into the angle formed by the base and the dial will insure the latter's being perfectly perpendicular4 ,the upright will be fixed in its place later4 ,to proceed with the more delicate part of the work4 ,cut a piece of cardboard1 fairly thin in texture1 #e inches long and #a inch wide1 and bend it into the shape of an oblong hoop4 ,upon the hoop or bobbin wind about half an ounce of fine cotton-covered copper wire1 size ,no4 #cf1 which can be obtained from any electrician4 ,wind this wire very carefully and evenly1 but not tightly1 leaving about #d inches free at either end 7,a1 ,fig4 #b74 ,the next thing to be made is a magnetized needle1 which can be easily done as follows4 ,take a piece of ordinary watch spring1 an inch long1 and make it red hot4 ,when in this condition drill a hole through the center1 and when it is cooler round the ends1 as in ,b1 ,fig4 #b4 ,heat it once more to a red heat and then plunge into cold water to harden4 ,the needle must now be magnetized by being drawn several times firmly across the pole of a strong magnet1 care being taken that it is always drawn in the same direction4 ,the pointer 7,c1 ,fig4 #b7 should be made in a similar manner1 except that it must not be magnetized1 and should be at least twice as large as the needle4 ,through the hole in the magnetized needle pass a couple of inches of straight stout wire1 and with a little solder1 or even sealing-wax1 fasten the needle as shown in ,b1 ,fig4 #b4 ,illustration3 ,a4--,coil of wire4 ,b4--,magnetized needle4 ,c4 ,pointer4 ,,fig4 #b4 ,all these parts can now be fixed together4 ,in the middle of the broad side of the coil of wire you must push aside the strands in such a manner that holes can be made through the cardboard hoop4 ,pass the two ends of the thick wire1 to which the needle is attached through these holes1 so that the needle is then suspended within the coil4 ,take care to make these holes large enough to allow the axles of the needle to revolve freely1 as the whole success of your apparatus depends upon the needle turning easily within the coil1 which should now appear as in ,fig4 #c4 ,fasten the coil upon the back of the dial1 one end of the protruding axle passing through the hole you have already made in the wood4 ,then glue the upright firmly in its groove1 with the other end of the axle through its corresponding hole4 ,take great care that the needle can revolve freely within the coil4 ,fasten the pointer to the end of the axle passing through the dial1 and in this latter drive two pins or wooden pegs 7,p ,p7 on either side of the pointer1 in order that it may only move within a limited arc 7,b1 ,fig4 #a74 ,illustration3 ,,fig4 #c4--,revolving needle in coil4 ,,testing ,it would now be as well to test what you have already done4 ,connect the loose ends of the coil to the poles of a battery1 reverse them1 and repeat this two or three times4 ,if the instrument has been properly made1 the needle should swing to the left when the wires are connected in one way2 to the right when they are reversed4 ,illustration3 ,,fig4 #d4--,the keyboard4 ,nothing more remains to be done but to make the keyboard1 which is really the base of the instrument you have just been constructing4 ,a glance at ,fig4 #d shows how this is to be done4 ,c and ,d are two thin brass springs1 #e inches long1 and1 as they have to pass through the notches in the dial1 less than half an inch in width1 they must be bent upwards1 so that when fastened to the board at ,c and ,d the opposite ends will spring up and press against the under side of the metal bridge ,,bf4 ,they are then in what is called 8metallic contact40 ,the bridge should be made from a piece similar to the springs and bent as shown in ,fig4 #e4 ,another strip of brass must be screwed flat to the board at ,,ae1 parallel to ,,bf1 and over this a couple of wooden or ivory knobs should be fastened to the springs1 as they are used to press down ,,cd in contact with ,,ae 7,fig4 #d74 ,when released they should fly back to ,,bf4 ,be very careful to see that all these details are thoroughly in order1 as they form the most vital part of the keyboard4 ,illustration3 ,,fig4 #e4--,the instruments ready for use4 ,,message ,,transmitting ,at the ends ,,cd of the springs fasten two binding screws1 and do the same at ,a and ,b4 ,fasten the two loose ends from the coil to ,c and ,d1 and attach the wires from the battery to ,a and ,b4 ,now is the time to see whether your machine has been properly made4 ,by pressing down one key you will find that the current of electricity deflects the needle and the pointer to one side1 and by releasing this key and pressing the other one1 the pointer will swing down to the other side4 ,if this is done satisfactorily your telegraph instrument is complete1 and with a couple of them you will be able to send messages from one room1 or one house1 to another4 ,the complete apparatus should appear as in ,fig4 #e1 which also shows the connections with the battery4 ,a couple of ,daniels' cells1 or two ordinary dry batteries are sufficient to work both instruments4 ,two copies of the ,morse alphabet should also be made1 one to be kept by the side of each machine4 ,when the needle deflects to the left it designates a dot4 ,when it turns to the right it is a dash4 ,a short space separates the letters1 and a longer one the words4 ,when the alphabet has been mastered both for transmitting and receiving1 the use of your telegraph will be a matter of the greatest simplicity1 and you will be able to send messages with considerable speed to your friend at the other end of the line4 ,below1 the ,morse alphabet is given1 as well as a message1 which it is hoped you will be able to send4 ,,morse ,,alphabet ,a -- ,b -- ,c -- -- ,d -- ,e ,f -- -- ,g -- -- ,h ,i ,j -- -- -- ,k -- -- ,l -- ,m -- -- ,n -- ,o -- -- -- ,p -- -- ,q -- -- -- ,r -- ,s ,t -- ,u -- ,v -- ,w -- -- ,x -- -- ,y -- -- -- ,z -- -- ,,message -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- ,,chapter ,,li ,,elementary ,,hypnotism ,,the ,,mysteries ,,and ,,marvels ,,of 8,,under-,,sleep0 ,,the term 8,hypnotism0 is defined in ,nuttall as 8an artificially induced state of sleep10 and is of ,greek origin1 the prefix 8hypo0 signifying 8under0 or 8beneath10 and the ,greek root 8hypnos10 sleep4 ,hypnotic1 or 8under-sleep0 conditions1 may be induced in several ways1 and are not limited to the best-known method1 that of absorbing the attention of the subject by means of an object2 for oblivion may be caused quite as successfully by means of the sense of touch as in gentle continuous stroking1 pressure of the skin1 by the motion of the hands over the body without touch1 or by soothing words1 which1 accompanied by the penetrating magnetism of the eye1 convey hints or suggestions to the intelligence4 ,methods of hypnotism may be divided into two classes3-- #a4 ,the ,mental ,method--which directs the subject's imagination and senses to co-operation1 creates an image in his mind1 thrusts the dormant brain into a totally different environment from that to which it is accustomed1 renders it extraordinarily hypersensitive to suggestion1 and unfolds experiences probably hitherto unique1 at the will of the exponent4 #b4 ,the ,physiological ,method--that steeps the faculties in oblivion as completely as when chloroform is administered4 ,this latter form is often used as a therapeutic means of securing rest and relief from pain4 ,it has been proved that individual character takes a far greater part in the mental method than the physiological4 ,when an object is used to induce hypnosis1 it is held at a distance of about eight inches from the eyes1 and removed gradually to a foot above the forehead 7,fig4 #a74 ,during this process the gaze should follow the slowly moving object until the lids are strained to their widest extent 7,fig4 #a;a74 ,this position naturally fatigues the eyeballs and causes the lids to close swiftly4 ,illustration3 ,,fig4 #a4--,range of object to induce hypnotic sleep4 ,illustration3 ,,fig4 #a;a4--,gazing with eyelids open to widest extent4 ,it is not essential that a glittering object be used4 ,it has been found that the finger of the operator1 moved gradually1 is as successful a means as any object4 ,should the hypnotizer desire to enforce slumber1 he may accompany his action with suggestions that the subject is extremely tired and longing for sleep4 8,you are worn-out4 ,your head is heavy4 ,your limbs are fatigued4 ,you need rest4 ,sleep is essential4 ,you are gradually falling asleep40 ,before hypnotism can take place1 the patient makes his mind a perfect blank1 and concentrates his whole being and vision on the button1 coin1 glass1 or crystal held before him4 ,it will now be seen that his eyes begin to water1 the pupils undergoing a series of changes1 contracting1 dilating1 and recontracting1 as if he were succumbing to natural slumber4 ,his sight becomes gradually insensible to the light1 and in a few moments he is unconscious4 ,the state of hypnotism begins with the second narrowing of the pupil1 and is accompanied by a quickening or retarding of the pulse1 rigidity of body and heaviness of brain1 which becomes chaotic and wildly confused before the final stage is reached4 ,the will is entirely surrendered to the hypnotizer1 and the subject is powerless to move1 speak1 or feel1 except at his suggestion4 ,a sure test that the individual experimented upon is really oblivious to everything about him is shown when the operator gently moves his arms from his side in a horizontal position and lifts his eyelid4 ,when the arms remain rigidly outstretched and the eyeball is fixed and glassy1 the exponent is assured that his subject is completely at his mercy 7,fig4 #b74 ,in order to bring about this condition successfully1 the hypnotizer must possess no small amount of cultured will-power and concentration4 ,his mind must be absorbed in the experiment as wholly as the subject's faculties are concentrated upon him4 ,he is now forcing his brain to act at his dictation1 not only upon his own movements1 but upon those of the individual chained to him by his exertion of hypnotic influence4 ,one mind operates them both1 and1 during his subject's trance1 he has as complete a sway over his nervous system as if he possessed two bodies and a double supply of arms and legs4 ,illustration3 ,,fig4 #b4--,the subject1 when hypnosis is complete4 ,the eyes1 whether closed or widely open1 are focused on his brain1 insensate of everything beyond the compelling force creating his thoughts4 ,he can hear sounds1 smell1 taste1 see1 talk1 or remain silent--only in obedience to that petrifying will4 ,of every movement of our bodies1 the brain is supreme operator4 ,the code of suggestion is flashed through telegraph wires composed of nerves and muscles4 ,no turn of the head1 twitch of the finger1 beat of the heart1 can take place without the coalition of those wonderful brain-cells4 ,when an individual is stricken with paralysis1 and has lost all power over his limbs1 it is not because his bodily organs are injured4 ,impotence is caused by the fact that his brain has lost its ability to exert its power over his organs4 ,the wheels of a brain1 however carefully oiled and cleaned1 remain motionless unless the engine fires are lit2 and1 in hypnotism1 helplessness is not brought about by the mastery of the exponent over every separate joint and muscle 7for it would be absolutely useless1 even were it possible1 for him to concentrate his attention on every minute movement of the body71 but simply because he is robbing the brain of its individual control1 and is exerting his own will to dominate the purpose and identity of his subject as relentlessly as the magnet dominates the needle4 ,,weak-,,willed ,,subjects ,,not ,,essential ,some subjects are less amenable to hypnotic influence than others4 ,the belief that those of weak will are the easiest prey is a fallacy4 ,the real reason lies in the fact that the individual is incapable of concentrating his will in obedience to the dominating mind4 ,this is generally the case with persons inclined to hysteria or of neurotic temperament1 and for such1 a revolving glass is the best object to be gazed upon1 as it wearies the eye and induces slumber without the need of concentration or surrender of will4 ,there are others who cannot easily be hypnotized because they determinedly set themselves to oppose the purpose of the operator to such an extent that his brain becomes exhausted in the process and loses its potency4 ,in such cases the best plan is for the hypnotizer to inspire faith by means of experiments performed over other individuals in the presence of the resisting or cynical1 until the incredulous are convinced that the hypnotic influence is not induced by trickery or confederacy4 ,the influence of imitation is an important factor in hypnotism1 and faith once founded does a great deal to overcome defiant wills4 ,it has been found that some of the best results have been those when the subject is taken completely by surprise4 ,the motion of the hands often brings about unconsciousness as swiftly as when an object is used4 ,the hypnotizer should stand a few paces from the subject1 gaze into his eyes1 and with hands raised sweep them gently in continual passes over the body1 reaching from above the head to below the hips4 ,this action should be continued without a pause for some minutes1 the hands sweeping across the face1 as near as possible without touching it 7,fig4 #c74 ,the motion may also be performed at the back of the subject 7,fig4 #c;a74 ,illustration3 ,,fig4 #c4--,motion of hands 8before0 subject4 ,illustration3 ,,fig4 #c;a4--,motion of hands 8behind0 subject4 ,the body will gradually sway backwards or forwards1 the gaze become fixed and lifeless until the subject's will is surrendered1 when1 by withdrawing a few paces and raising a finger1 the exponent will be able to draw him in any direction he wishes4 ,the power of hand motion has been explained as due to stimulation over those zones of the body most susceptible to hypnotic influence1 or the slight motion of the air1 or mental influence4 ,it is probable that all these influences combine1 the most important being the mental influence4 ,the idea that the hypnotizer possesses some magnetic fluid which passes from him to the subject in the process of hypnotism has been proved to be without any foundation1 and is merely a foolish superstition4 ,there is nothing mysterious or supernatural in the influence of this power4 ,it is due entirely to the exertion of mental force and the involuntary co-operation of the individual hypnotized4 ,performance of hypnotism in a drawing-room is not difficult1 although1 like everything else1 it needs practice and perseverance before it can be successfully accomplished2 and1 unless the mind of the hypnotizer is disciplined to determination and control1 it naturally fails to act upon other minds4 ,now1 provided that the student has some knowledge of the subject1 and has trained himself to keep his attention fixed1 to the exclusion of everything else1 upon the matter in hand1 a few experiments may be undertaken4 ,elementary ones should be essayed at first4 ,fix upon an individual among your onlookers4 ,ask him to withdraw for a moment or two1 while you and your friends decide what he shall accomplish4 ,however simple the action1 every mind must be concentrated upon it1 and there must be no laughing or talking4 ,if you know something of the character and temperament of the subject chosen1 this will aid you considerably4 ,he should have faith in your power1 and willingly surrender his will to your control4 ,as an aid to concentration1 request him to close his eyes2 or1 better still1 blindfold them4 ,next turn him round several times1 taking care not to induce giddiness4 ,your only reason for doing this is to shut out all objects that may draw his thoughts from your purpose4 ,place the tips of your fingers lightly on his shoulders1 but do not push him forward 7,fig4 #d74 ,he must move only when he feels the impulse of your will impelling him with sufficient force to render resistance difficult or impossible4 ,he will probably stand motionless for a few moments1 and this is when spectators are inclined to giggle a little1 just as when1 for no particular reason1 one's risibilities are stirred while being posed before a camera4 ,if1 however1 the slightest sound intrudes upon the silence1 the growing spell will be broken1 for it at once disturbs the train of thought surrounding the subject1 and draws his attention from your will4 ,silence is absolutely essential1 for it has almost as powerful an influence as the strongest will4 ,this gained1 you will feel your subject sway a little under your fingers before he goes slowly and unhesitatingly forward1 feeling his way with outstretched hands1 and walking with the peculiar tread of a somnambulist1 until he unerringly picks up the photograph1 takes a pin from the curtain1 removes a flower from a vase and places it in his button-hole1 or any other trivial act you have fixed upon4 ,then he will pause1 as if in relief that the deed is accomplished4 ,illustration3 ,,fig4 #d4--;,inducing hypnotic sleep4 ,only one action should be decided upon at a time--the simpler the better to begin with4 ,as you excel in this form of hypnotism1 you may try more complicated experiments1 but not until you have overcome the rudimentary difficulties and have developed your powers to such an extent that you have absolute faith in your ability1 for self-reliance and self-confidence are the corner-stones of hypnotism4 ,,auto-,,suggestion ,,or ,,self-,,hypnosis ,in order to cultivate these1 experiment upon yourself by the means of auto-suggestion or self-hypnosis1 which is a splendid means of training those faculties necessary to the mastery of other minds4 ,change your state by means of words which imply a condition either mental or physical not personally experienced by you1 and believe implicitly in your own ideas4 ,treat yourself exactly as if you were experimenting on another individual1 surrendering your subjective and objective mind wholly to absorb the idea conveyed1 and gradually its meaning will influence and take possession of your brain to the exclusion of everything else4 ,the change suggested should be exactly opposite to your natural state--for instance1 if you are warm1 tell yourself determinedly that you are cold until you credit the fact1 when your body1 which blindly follows mind and will1 experiences the sensation of cold4 ,if you have a headache1 suggest that the pain has gone1 c4 ,auto-suggestion may be perfected to such an extent1 that1 under its hypnotic trance1 a needle may be plunged into the skin without the action's causing the slightest degree of pain4 ,in suggestion1 it is always the subjective mind that is swayed by hypnotic influence4 ,this is always keenly alive1 and it is through its medium that the subject is induced to an extraordinary power of imagining and experiencing the processes suggested by the hypnotizer4 ,elementary exhibitions are very entertaining1 and are quite sufficient to illustrate the motive power which achieves your purpose4 ,some individuals are better hypnotists than others1 because they have a natural supply of animal magnetism at their disposal1 but it is extraordinary what results can be brought about by study and patience1 so that students less gifted need not despair of success4 ,for the sake of those who have succeeded in such simple experiments as the foregoing1 the following may be undertaken4 ,in these1 intuition1 sympathy1 and imagination play almost as important a part as thoughtful concentration1 which is ever the most powerful possession in the outfit of the hypnotizer4 ,here1 one word as to the difference between the terms hypnotist and hypnotizer4 ,the former is a scientist1 who employs his art solely for therapeutic or medicinal purposes4 ,the latter is the entertainer1 and care should be taken to distinguish between the two words4 ,experiment4--,place the subject in a chair1 with palms on knees4 ,pass your hands over him for a space of several minutes1 the while his eyes are fastened on your own4 ,watch his expression carefully4 ,it undergoes several changes1 the individual character dominating 7,fig4 #e71 gradually disappears1 and finally gives place to vacancy 7,fig4 #e;a74 ,the firm lines of the mouth fade1 and the lips become slightly parted4 ,the face grows blank and purposeless1 the eyes staring and void4 ,you have some plan in your mind which you are straining to impress on his brain4 ,supposing it is that he shall not remove his hands from his knees4 ,say to him1 in a low soothing voice1 which penetrates his hearing perfectly 7to shout1 breaks the spell in a moment71 8,your hands are stuck to your knees2 you cannot remove them4 ,they're glued2 they're tight fast4 ,do what you will1 you can't lift them4 ,now try----0 ,illustration3 ,,fig4 #e4--;,face showing character before hypnotic sleep4 ,illustration3 ,,fig4 #e;a4--,face showing vacancy under hypnotic sleep4 ,at your dictation he endeavors to do so4 ,he lifts his knees4 ,he ducks his head1 trying to push his hands away by means of his chin1 but every effort is futile until you say1 8,you can now remove your hands4 ,see1 it is quite easy1 they are free60 ,at once he lifts them easily4 ,now ask him his name4 ,he tells you in a dazed1 obedient voice that it is 8,john ,jones40 ,you determine he shall forget his name4 ,you say to him again and again1 8,you have forgotten your name4 ,you cannot tell me what it is4 ,you don't know your own name2 you can't remember40 ,the subject's face at once indicates that he is absolutely nonplused4 ,he struggles to remember1 but in vain4 ,should you suggest that his name is ,mary ,smith1 he will believe you implicitly1 and1 with a relieved expression1 declare this name to be his own4 ,bid him open his mouth as wide as he can4 ,then say to him1 8,you can't shut your mouth4 ,it is fixed1 rigid4 ,try to shut it40 ,he vainly endeavors to do so4 ,he places one hand on his head1 the other on his lower jaw1 and tries to force his lips together1 but he is powerless so long as your will opposes him4 ,when you command him to shut his mouth1 he does so without effort4 ,a subject should not be kept longer than a few moments in this subservience to your will4 ,he can be released by a snap of your fingers at his ears or before his eyes4 ,address him softly by his name1 and he will return to consciousness in an instant4 ,when he looks dazedly round1 reassure him1 kindly1 that he is quite well1 and will suffer no harmful results from your experiments4 ,illustration3 ,,fig4 #f4--;,awakening the subject4 ,the hypnotizer should never abuse his power over an individual4 ,he must possess sufficient humanity to prevent him from keeping his subject too long under control4 ,when he finds a subject who answers readily and quickly to the hypnotic influence1 he may be tempted to continue an exhibition of his powers in order not to lose time on less amenable individuals1 but he should determinedly resist this temptation4 ,a valuable aid for him will be to time his experiments by a watch1 limiting each individual's trance to a space of1 at most1 four minutes' duration4 ,the hypnotizer must be in perfect health1 for1 unless his body1 nerves1 and mind are in proper condition1 the supply of animal magnetism fails4 ,he must study hygiene1 take sufficient exercise1 and be most particular to keep his body1 linen1 hair1 and finger-nails scrupulously clean4 ,a dirty finger1 held up before a subject undergoing the hypnotic trance1 inspires the latter with a revolting sense of disgust1 and clouds the vision conjured by the brain4 ,the hypnotic entertainer should abstain from any indulgences1 and eat only plain1 wholesome food4 ,during the process of hypnotism1 the exponent should never lose his head or self-reliance4 ,any dread experienced by him is at once conveyed to the subject4 ,should the latter be unable to awake from the trance at command1 the operator must wave his handkerchief before his eyes4 ,if these are closed and refuse to open1 he must at once rub the eyebrows with the tips of his fingers1 beginning at the root of the nose1 and ending at the temples1 terminating this action by gentle fanning or blowing until such efforts meet with success 7,fig4 #f74 ,it should always be remembered by the student that the power of hypnotism--like fire--is a good servant1 but a bad1 tyrannical1 and lawless master1 unless properly controlled4 ,,chapter ,,lii ,,the ,,powers ,,and ,,mysteries ,,of ,,clairvoyance ,,marvels ,,of ,,the 8,,sixth0 ,,sense ,,clairvoyance1 originally a ,french word1 means the ability to see clearly4 ,the reason so few people possess this extraordinary psychic faculty1 is because most human beings are three-quarter parts blind1 deaf1 and insensate to anything beyond the ordinary emotions4 ,the power of prophecy and acute intuition is a sixth sense which most of us have in a slight degree dormant and uncultivated4 ,clairvoyance has often been mistaken for superstition or wilfully imposed and cunning deceptions1 and it is difficult for ignorant and cynical people to believe that it is founded on science and truth4 ,it has stood firm through the ages in spite of the quackery of wizards1 paraphernalia of sorcerers 7used to inspire fear and awe in the uninitiated71 the sneers of those of material minds4 ,all of us at some time or other have felt the control of that still small voice1 potent and penetrating as conscience1 which comes1 unaccompanied by earthquake or fire1 to instill us with awe1 joy1 extreme sadness1 or warning at some critical juncture of our lives2 often anticipating1 with power greater than speech can convey1 some event that concerns our well-being4 ,why this power should be deemed more extraordinary or mysterious than the senses of sight1 hearing1 smell1 and touch which1 even to those thoroughly conversant with the anatomy of the human body1 remain steeped in mystery1 it is difficult to say4 ,science teaches that a million delicate sounds escape the ear and brain1 and as many minute exquisitely fashioned atoms escape the eye4 ,a magnifying glass reveals the marvelous structure of insects and microbes invisible to naked sight1 and it is only by means of a telescope that the beauty of the stars is discerned2 thus the developed power of clairvoyance may be called the magnifying lens of the soul4 ,it is because this lens is dull and misty that we fail to see4 ,the history of ages and a great deal of our most cherished literature prove its existence4 ,many of the stories and prophecies of the ,bible are founded on clairvoyance4 ,people were simpler and more trusting then2 for this reason visions and clear sight were granted them4 ,pilate's disregard of the warning conveyed in his wife's dream1 affected the whole course of ,christianity1 and the ,bible abounds with examples of the disasters that befell those who disobeyed the spiritual promptings sent them4 ,this wonderful faculty of inner sight is the possession of the individual born blind4 ,he demonstrates its existence when by merely passing his fingers over an object he can describe exactly a color he has never seen4 ,in him it is nature's recompense1 and no one who watches his movements can doubt that he is guided by this psychic organism1 yet when we note the same power granted to a man or woman blessed with eyesight1 we at once decide that happy coincidence1 trickery1 or charlatanism is the origin of the manifestation4 ,clairvoyance teaches that everybody has a distinctive color1 which conveys more of character and personality than any word or action4 ,the shades of these colors vary according to temperament1 and are as much concealed from untrained vision as the million tints composing the gold1 purple1 and green bands of the rainbow4 ,optimistic persons emanate a pale blue aura4 ,large-minded progressive persons1 a pale green4 ,pessimistic worried persons1 gray4 ,ill-health in mind or body1 dark green4 ,kindly benevolent1 humane persons1 pink4 ,the thinker and scholar1 deep blue4 ,the degraded1 brown4 ,the passionate and bad-tempered1 red4 ,the ambitious1 orange4 ,the lover of the beautiful in ,art1 yellow4 ,,keys ,,to ,,character ,these colors1 however1 although providing the key to the character1 are subject to constant changes4 ,our moods sway and change our thoughts according to the happenings that affect us4 ,for example1 bereavement or anxiety has power to transform the blue aura of the optimistic temperament to gray1 and this temporary change of color studied alone may perplex the clairvoyant1 and mislead him to a false diagnosis of character4 ,in order to prevent this1 the seer will do well to request some article constantly worn by the inquirer to be handed him2 the older and shabbier it is the better4 ,a dilapidated glove1 an everyday tie or a ring constantly worn are equally valuable by which to discriminate between the temporary and habitual aura peculiar to temperament4 ,when a man's glove emits a pale blue aura1 in contradiction to the gray of his own personality1 the deduction is that he is naturally of a hopeful and cheerful tendency1 but that some mental anxiety or bereavement causes the gray1 deep or pale1 according to the depth of emotion dominating him4 ,the reason of this difference of colors is that the glove is1 as it were1 saturated with the essence of his normal disposition1 while the color of his character has been changed by circumstances or environment4 ,in the brain there exists a small and delicate organ known as the pineal gland1 and it is thought by some scientists that this is responsible for1 and sensitive to1 the subtle vibrations of ether which are too minute to stir the tympanum of the ear4 ,its cultivation produces the power that beholds and distinguishes the difference in shades of mental color in which the mind is absorbed4 ,people of erratic temperament possess an aura of many and constantly changing colors1 but those whose calm never varies maintain but one4 ,some few persons are aware of the tones of their aura1 and are therefore keenly sensitive to the influence of their surroundings4 ,they will be perfectly miserable if the paper on their walls1 or the material of their clothes1 clashes in color with that of their character2 while they are at their best and happiest surrounded by the tints that blend or contrast harmoniously4 ,the clairvoyant's outfit consists of six qualities3-- #a4 ,power of magnetism4 #b4 ,mental health and influence4 #c4 ,physical health and cleanliness4 #d4 ,temperance in food and drink4 #e4 ,the power of discerning the aura and interpreting its colors4 #f4 ,the liberty from all evil or slothful habits4 ,in advanced clairvoyance the use of the crystal for vision is designated by many seers as 8clap-trap0 and vulgar 8playing to the gallery40 ,it is found to be injurious to eyesight and brain centers to gaze at any shining article for too long a period1 yet in parlor clairvoyance there is no doubt that it has great power of inducing concentration of sight and thought4 ,,crystal ,,gazing ,by means of crystal scrying the gazer creates and becomes subject to the influence of auto-hypnosis--that is1 he is able to throw himself into a trance which veils his own personality and links him to that of his client4 ,the surface of the crystal gradually reflects images1 and subconscious impressions conveyed by and vital to the individual whose past1 present1 and future are being revealed4 ,sympathy and intuition merge the soothsayer's aura with the temperamental coloring of his client4 ,his magnetic force creates further powers1 while his psychic discernment or sixth sense is the nucleus about which these are bound4 ,no student of clairvoyance can be successful in discerning character and personal emanations of color unless he is disciplined by simple rules which should govern his life4 ,excessive eating1 drinking1 intemperance in any form1 self-indulgence1 bad habits1 and drugs destroy this delicate sixth sense past redemption4 ,want of sincerity and integrity results in the rapid decline of its power4 ,the body and mind must be pure and of perfect mental and physical balance4 ,no nervous fretting or pettiness of outlook should be permitted to intrude4 ,in clairvoyance the brain is ruled by large and lofty aims1 and it must be kept as unspotted and clean as a white garment2 so only is it capable of performing its proper functions4 ,likewise it is essential to remember the important1 nay1 vital dominion it exerts over the body1 which cannot rise to perfect beauty and health unless its mental orbit is lofty and serene4 ,in consulting a clairvoyant the client should be serious1 earnest1 and trustful that he will hear the truth4 ,frivolity1 incredulity1 or idle curiosity forms as it were a thick crust between the mind of exponent and inquirer1 which prevents the penetrating of thoughts and vision1 strains the powers1 and results in disappointment4 ,in the same spirit in which one visits a doctor or solicitor should the clairvoyant be approached1 and there must be no determined reserve to conceal thoughts and character in the mind4 ,clairvoyance in a drawing-room full of people is extremely difficult--indeed impossible1 unless the onlookers can be induced to keep perfect silence during the operation4 ,it is always better to be closeted alone with the inquirer in a small room to which street noises do not penetrate1 provided only with the necessary furniture1 kept clean and fresh1 airy1 and well lighted4 ,the crystal should never be touched by any one save the clairvoyant1 and must be kept free from spots and smudges4 ,a black silk handkerchief round its globe will be a help to divination by preventing the reflection of lights4 ,there may be1 especially to beginners1 temptations to pose as the possessor of supernatural powers--to make passes over the crystal1 light wax tapers1 burn perfumes1 and murmur incantations--but these methods1 although employed by the ancient prophets1 are of no aid to the modern sage4 ,indeed1 they do harm by appealing to the senses and superstitions1 and1 being a mere affectation1 are unworthy of that sixth sense and harmful to it4 ,,simple ,,manifestations ,,best ,the simpler the manifestation1 the more assured the clairvoyant may be of arriving at the truth4 ,self-confidence1 an absolute belief in his gift1 and faith in his methods dominate him4 ,he does not endeavor to avoid exertion of his nervous forces by discreetly 8pumping0 the inquirer as to ways and means1 but takes a delight in silent investigation4 ,the clairvoyant should come to his task fresh and buoyant1 bubbling with enthusiasm1 and yet without frivolity or thoughtless mind4 ,at the slightest sense of fatigue he should desist from his efforts1 for it is extremely harmful to apply any force or strain to this abstract power4 ,physical fatigue and excitement must be avoided1 for these engender jangled nerves1 sleeplessness1 and finally inability to isolate the mind from the orbit of our own concerns to the sphere of others4 ,the processes that occur in crystal-gazing are thought transference and telepathy4 ,a communication of ideas is set up between the prophet and client1 and the mirror-like surface of the crystal is the medium by means of which innate thoughts are reflected4 ,as far as possible1 the clairvoyant submerges his own personality in that of the inquirer1 putting himself in his or her place4 ,the best means of creating these links is to place an article constantly worn by the inquirer to the head4 ,profound silence brings about the sense of atmosphere and aura usual to the latter1 and by these means1 and an intent gazing into the crystal1 visions originate4 ,the crystal is supposed to be the magic bridge which spans the chasm fixed between itself and the spiritual world4 ,in the iron it contains are situated the collective and culminating forces4 ,mists of white1 green1 blue1 and violet tints are symbols of good fortune and happiness2 black1 yellow1 and red are warnings of disaster4 ,when the mists disperse and gradually ascend to the surface1 the clairvoyant may reply to any question in the affirmative2 mists that descend to the bottom are signs of negation4 ,images that develop to the left of the clairvoyant are real2 those on the right are purely symbolical4 ,it will be seen from the above that in order to apply oneself to the achievement of reading the secret depths of mind1 character1 talent1 and circumstances1 it is necessary to possess the power of separating oneself from material surroundings and allowing the spirit to dominate the body4 ,this can only be executed by the process of hypnotizing oneself4 ,clairvoyance is based on certain forms of this semi-somnolent state1 for1 just as in hypnotism1 the mind reigns supreme over matter and becomes isolated by means of an object1 so1 in clairvoyance1 a waking trance is brought about by fixed gazing into the crystal4 ,however1 there are other methods of inducing this state1 more or less difficult of manipulation1 until constant practice and experience have made them a habit4 ,for the reason1 formerly mentioned1 that long gazing at a bright surface is injurious to eyesight1 many clairvoyants prefer to create visions without the use of a crystal4 ,words repeated over and over again have a mysterious power of isolating the sixth sense from the rest4 ,for example1 the word ,,aum is extraordinarily symbolical4 ,it stands for three influences-- ,a the objective4 ,u the subjective4 ,m the ,eternal4 ,these are the three kingdoms in the heart of man4 ,the objective1 being the natural surroundings of objects and events which we all can feel and see4 ,the subjective1 being the realm of influences the degree of which is felt according to the perception and training of our spiritual forces2 too often vague and illusive1 because most of us ignore its existence4 ,the ,eternal ,world1 being that state to which the subjective world1 in its highest state of development1 leads4 ,this word repeated1 slowly and steadily at first1 and then at great speed1 has a marvelous power to create as it were a vacuum between the spirit and body of the prophet4 ,his mind dwells on its meaning2 the vibration of the different letters acts on his mind1 and he is carried by gentle stages to the very seat of his spiritual being4 ,it is when he attains this full development that he is granted large1 clear1 and deep perceptions of his client's character1 and is able to reveal facts concerning him which in his normal state would be absolutely impossible4 ,the sensation experienced is that of being plunged into space in which the senses of sight1 hearing1 and touch are transmuted to the brain and spirit4 ,the student will doubtless be discouraged at first at his inability to produce this state1 but he should remember that hard work and perseverance are the attributes which all must give to be perfect in any learning1 art1 or science4 ,one destined to become a great mathematician stumbles in childhood with despair over the first addition sum1 and the most distinguished musician has to do battle with the rudiments of music4 ,thus it is in clairvoyance4 ,seemingly insuperable difficulties surround the novice who has never learnt to recognize the value and power of the sixth sense4 ,patience1 a tranquil1 determined mind1 and not a little courage1 are necessary in this branch of science4 ,time and growth work wonders in the persistent mind1 and it will be seen that the obstacles gradually move aside1 the curtain is lifted1 and the strenuous seeker reaches that mature vision which he has formerly imagined dimly1 if at all4 ,it is a good plan for the novice to ponder on his own name1 and1 shut away from all distractions1 repeat it again and again to himself4 ,he will gradually feel a sense of deepest mystery surrounding him1 for in that name is concentrated the riddle of existence4 ,the blending of spiritual and material kingdoms lies behind it1 and the material slips rapidly into obscurity4 ,,the ,,eternal ,,question ,the eternal question based on introspection faces him4 8,what am ,i8 ,whither am ,i going8 ,what is the meaning of this thoughtful brain1 this palpitating heart1 these stirring pulses through which the mysteries of the soul flash in a thousand directions80 ,these and many other questions will move into being until the eternal atmosphere of spirituality is reached1 and the wings of the soul become unfurled and increase in strength and power to lift him to the realms of his desire4 ,only when the heart is pure and worthy will the vision be granted--the dross of bitterness1 envy1 hatred1 and malice1 which generally hide the precious jewel from the light1 and render scintillating brilliance impossible1 all discarded4 ,every one knows how difficult it is to control the mind1 and keep it from mean and uncharitable thoughts4 ,it is more rebellious even than the body1 and influences it for good or evil4 ,temptations small and great are created and emerge from the mind4 ,no one thieves with his fingers until the thought of theft is born4 ,his mental faculties plan the ways and means and cunningly devise protections against the punishment in which the act when culminated results1 unless artful deceptions render discovery impossible4 ,no treason or wrong-doing was ever committed before the deed was hatched in the brain4 ,the mental sphere may be a hotbed of falsehoods and treachery1 or it may be a world of purest truth and virtue4 ,therefore1 before all else1 the clairvoyant must learn to discipline and constrain his thoughts1 and this is extremely difficult1 and seems at first almost impossible2 yet1 if the lamp is to burn brightly1 it must be kept clean1 and daily fed with all thoughts that are benevolent1 gentle1 and good4 ,a humble demeanor1 a longing for purity and singleness of purpose are needed to bring about these noble qualities1 and here it is that proper treatment of the body is invaluable4 ,simple diet1 early rising1 daily exercise1 constant isolation1 and cultivation of good habits create the orbit for the higher faculties4 ,these are the elementary rudiments of clairvoyance1 and1 unless they are mastered1 the clairvoyant1 no matter how diligent and persevering he may be in his studies and labor1 is doomed to failure4 ,a quiet state of mind helps in all the storms and stress of life4 ,it is a harbor of quiet blue waters1 in which the seafaring vessel may shelter beneath peaceful starlit skies1 securing power and refreshment and shafts of clearest light by which other human ships may be led towards his haven4 ,,chapter ,,liii ,,table-,,turning ,,fun ,,for ,,an ,,impromptu ,,party ,,there is something sufficiently fascinating about table-turning to fix the attention and interest of guests gathered for an evening's recreation1 and as it needs no previous arranging1 it is an excellent device at an impromptu party4 ,the table must be round1 light1 and of wood4 ,as many of the company as can be squeezed in its circle may take part1 but the excitement will be shared by the onlookers4 ,each places both hands lightly on the surface with the thumbs touching1 and the little finger joined to that of his neighbor4 ,it is important that there should be no break in the chain of hands1 as this prevents the flow of the electric current1 which is alone responsible for the vibration and movement of the table4 ,the time of waiting for its first motion must be spent in silence1 and may last from five to twenty minutes4 ,any 8wag0 who takes it into his head to jerk the table with his knees1 or push it with his hands during this period1 should at once be called upon to forfeit his place4 ,those experienced in table-turning know perfectly well how different the movement caused by such a proceeding is from the real tilt the table gives when moved by the electric current1 and will soon discover the impostor1 for no trick can bring about the same curious vibration4 ,the table should be treated with the greatest respect1 otherwise its 8spirit0 becomes taciturn and silent1 and1 even after the tilting backwards and forwards has gone on for some time1 it has been known to retire at the slightest sign of levity and incredulity4 ,not until the manipulators are assured of its movement should any question be asked1 and1 before this is done1 they must agree upon some plan by which they may comprehend the answers given4 ,two taps or bows may stand for 8,yes10 one for 8,no10 or vice versa2 but1 when once decided upon1 should remain fixed4 ,the question must not be asked until the preliminary vibrations have ceased2 then one of the party--the medium1 so-called because he or she possesses more magnetic power than the rest1 addresses the spirit1 and those anxious to hear anything affecting themselves must use him or her as mouthpiece4 ,the table is questioned in some such way as this3-- ,medium--8,are you going to be kind to us to-night1 ,o ,spirit8 ,please answer two taps for #8,yes1' and one for #8,no4'0 ,at this polite request the spirit doubtless replies in the affirmative4 ,when ages and dates are required1 the medium counts the number of taps1 and gleans the result when the taps cease4 ,names are discovered by carefully going through the alphabet4 ,each tap stands for a letter1 and1 when the table pauses1 the initial and other letters of the name are provided1 until the whole is spelt out4 ,thus1 supposing the medium inquires the name of his left-hand neighbor1 which it may be presumed is ,alice1 the spirit1 having apparently heard the question1 gives one decided jerk1 and then is perfectly motionless4 ,the medium says 8,a--next letter1 please40 ,the table obediently bobs twelve times2 that is1 until ,l is reached4 ,the medium continues1 8,next letter1 please10 and the table obligingly bobs nine times4 8,i10 says the medium--8next letter1 please40 ,three bobs give ,c4 ,five bobs give ,e4 ,the table is then motionless1 and another question may be asked4 ,queries should never be clamored at once by the impatient guests1 nor should one monopolize the spirit's attention with his own affairs4 ,a good plan to follow is for each in turn to supply the medium with an inquiry4 ,the initials1 ,christian or surname1 of the man or maid one is destined to marry may be revealed by the spirit4 ,initial letters are better1 because when there are many eager to know their fate1 the full names take too long4 ,sometimes it will be noticed that the spirit gives very decided answers1 jerking to one side so abruptly that the players are obliged to push back their chairs and have some difficulty in keeping their hands on its surface4 ,at other times it seems undecided1 and if the question is an unwelcome one1 the spirit will race through the alphabet again and again at a great speed and without a moment's pause4 ,when this is the case1 another question should be asked4 ,,the ,,presence ,,of ,,an 8,,unbeliever0 ,should the spirit refuse to communicate at the end of twenty minutes1 the manipulators may be sure that an 8unbeliever0 is in their midst1 or that the whole assembly has too small magnetic power4 ,when this happens1 other persons should try their skill4 ,as mediums are not uncommon1 there will probably be one among them1 and a brief waiting at the table will prove that this is the case4 ,a good experiment to spare further waste of time is for the circle of attendants to decrease until only sufficient are left to maintain the chain4 ,in this way the medium is discovered4 ,a good medium creates movement in five minutes or less1 and1 with a tiny tea-table1 it has often been shown that1 when once set in full motion1 all may withdraw except the medium under whose magnetic touch the table will continue to gyrate for several minutes4 ,the spirit has many characteristics1 and sometimes tires of the part expected of it1 and1 yielding to a frivolous mood1 will dance or jump all over the floor1 sometimes carrying its ministers out of the room to the passage4 ,at others it remains true to the rle of dignified sage1 philosopher1 and seer2 but its moods are complicated1 and these depend a great deal upon the amount of concentration and will that dominate it4 ,constant peals of laughter provoke it to giddiness or abrupt1 curt 8answers10 while not infrequently1 after several hours in which inquiries have been constantly fired at it1 it shows a most discourteous inclination to remain stolidly non-committal and motionless4 ,then the medium with gentle coaxings may restore its good temper and patience1 but only for a short period4 ,perhaps the real reason for this reserve is to be found in the players themselves1 whose magnetic power becomes exhausted1 and fails to act as spontaneously as during the early hours of the evening4 ,at any rate1 when the medium asks courteously1 8,are you very weary1 ,o ,spirit80 the table will frequently reply with two most emphatic bobs4 ,another means of discovering a medium and an 8unbeliever0 7the latter term does not imply a cynic1 but simply an individual with an insufficient supply of magnetism7 is to ask the spirit to spell out the name of the person it loves best4 ,in nine cases out of ten1 it will spell out the name of the medium1 and it will be found that it is as quick to reveal the person it hates1 viz41 the 8unbeliever0--no matter if he is far removed from its vicinity4 ,,chapter ,,liv ,,palmistry ,,secrets ,,of ,,the ,,past1 ,,present1 ,,and ,,future ,,at social functions1 such as garden and evening parties1 fairs1 c41 there are few people whose notice and attentions are so solicited as the palmist's4 ,he speedily finds himself the central figure of a knot of people of both sexes1 all eager to thrust their hands under his discerning eye1 and compare their own estimation of their character--which1 alas6 is often subject to a severe shock--with that revealed by the sage's comparison of lines1 mounts1 and stars engraved upon the palm4 ,the true palmist is no flatterer1 nor is he over-hasty in judgment4 ,illustration3 ,,fig4 #a4--,names of the 8mounts0 and their signs4 ,most hands index as many contradictions and complexities of disposition as the human face1 and the experienced reader of these hieroglyphics finds that1 to secure a just diagnosis of the subject's character1 comparison of the many signs and minute calculations are necessary4 ,the art of addition1 subtraction1 and multiplication is the fundamental principle of his profession4 ,shape1 quality1 proportion1 and texture are of paramount importance1 and these should be examined before the lines are studied4 ,the size of the fingers1 and the manner in which they are set on the hand1 furnish the key to the character of the hand examined4 ,each finger has its name and sign1 and each has its distinguishing characteristics4 ,for just as every leaf and petal possesses some minute difference that distinguishes it from its neighbor1 so no hands in the world are exactly alike in form and structure4 ,the name given to the first finger is ,jupiter2 to the second1 ,saturn2 to the third1 ,apollo2 to the fourth1 ,mercury2 and to the thumb1 ,pollux4 ,fig4 #a shows some signs with their respective names4 ,the natural bend of the fingers is important1 and the palmist should be quick to notice its natural attitude before examining the interior of the hand4 ,some fingers are distinguished by their independent1 prominent position over the rest4 ,when the tips are inclined to curl to the palm1 a plodding1 determined nature is indicated1 one that does not easily relinquish a set aim or purpose because of obstacles4 ,a wide space between ,jupiter and ,saturn shows unconventionality1 and originality of thought and outlook4 ,when the ,jupiter finger is upright and straight1 and of normal length1 a just1 candid nature is revealed4 ,should its position be in advance of the other fingers1 the love of dominion4 ,falling slightly behind3 dependency on others1 a shirking of taking the initiative and responsibilities4 ,short3 ingratitude1 no enthusiasm4 ,pointed3 tact1 comprehension1 and sympathy4 7,fig4 #b47 ,square3 integrity1 unkindly frank in expressing opinions4 ,the generous and broad phalanges of ,saturn show gravity1 depth of character1 and sense of proportion4 ,a short ,saturn3 imprudence1 inclination to act on impulse1 somewhat foolhardy4 ,spatulate3 energy4 ,square3 cool1 clear-headed1 thought before action1 absence of hasty judgments4 7,fig4 #c47 ,illustration3 ,,fig4 #b4--,the ,jupiter pointed finger4 ,illustration3 ,,fig4 #c4--,the ,saturn square finger4 ,illustration3 ,,fig4 #d4--,the ,apollo spatulate finger4 ,apollo3 well-developed1 artistic tendencies4 ,forward3 painting1 drawing1 or sculpture4 ,pointed3 the artistic ability is greater than the practical4 ,spatulate3 a sense of the beautiful in form and color1 dramatic powers4 7,fig4 #d47 ,mercury1 set lower than the other fingers1 reveals the fact that many adverse circumstances have been battled with4 ,pointed3 tact1 discrimination1 intuition4 ,square3 love of scientific pursuits1 good reasoning powers4 ,beneath each finger rest their respective mounts4 ,there are two mounts of ,mars--that immediately at the base of the ,jupiter mount1 and that situated beneath ,mercury mount4 ,the mount of ,luna is directly opposite to that of ,venus1 which is found where the thumb joins the wrist4 7,fig4 #e47 ,in many hands it will be observed that the position of the mounts varies4 ,jupiter may swell over the boundary line1 and squeeze ,saturn into close proximity with ,apollo1 which1 in its turn1 may take the place allotted to ,mercury4 ,these signs are important4 ,jupiter's approach to ,saturn shows timidity and self-consciousness4 ,saturn's approach to ,apollo shows that the creation of art and literature is tinged with melancholy4 ,apollo's approach to ,mercury shows humanity1 charity1 and a peaceable disposition4 ,mercury's approach to ,mars3 self-reliance and resource in danger4 ,mars' approach to ,mercury3 originality1 defiance1 and ability to hold one's own against opposition4 ,luna inclining towards the wrist3 reveries1 some frivolity and love of pleasure4 ,illustration3 ,,fig4 #e4--,showing the position of the various mounts4 ,a glance will reveal which bumps are most developed in the hand1 and these1 taken together1 are valuable keys to character4 ,jupiter and ,mercury are worldly1 versatile traits4 ,jupiter and ,apollo are honest1 noble traits4 ,jupiter and ,venus are somewhat selfish1 vain traits4 ,saturn and ,mercury are signs that1 unless among gay companions1 the individual has no power of resource4 ,these mounts are generally prominent in the hands of those who depend entirely upon others for their amusement1 and have developed no powers by which to create a world of their own4 ,they are shallow1 discontented persons as a rule1 unable to concentrate their minds on books or music4 ,saturn and ,mars3 a thrifty temperament1 verging on the avaricious4 ,saturn and ,luna3 hypersensitiveness1 distrust of self4 ,a nature which is distressed1 and rendered almost morbid by the sadder side of life1 art1 and literature4 ,apollo and ,luna3 extreme imaginative force4 ,apollo and ,mars3 in a creative hand show an inclination to depict the strong things of life1 a certain amount of realism in portrayals4 ,a love of danger and adventure4 ,mercury and ,mars3 a superabundant amount of fun and good spirits4 ,mercury and ,venus3 a gay1 somewhat heartless1 temperament4 ,mercury and ,luna make a humorist4 ,venus and ,apollo3 a charitable1 generous individual4 ,,the ,,phalanges ,each finger has three divisions1 known as the phalanges1 and these are supposed to represent three worlds4 ,the first1 which includes the nail1 stands for the spiritual4 ,the second stands for the intellectual4 ,the third stands for the material4 ,correct comparison of these phalanges provides the orbit of thoughts and ambitions in which the mind of the individual revolves1 and when one of these predominates in length over the others1 that quality for which it stands is the principal quality possessed1 although a further study of the hand may contradict these attributes1 or render them more excessive4 ,for this reason the student is warned not to form his judgment by one indication only4 ,he can arrive at no reliable solution to the riddle of character until he has studied every portion of the hand and linked together the various peculiarities it expresses4 ,the thumb is1 as it were1 the figurehead of the hand4 ,there is more character to be discerned in its form1 habitual attitude1 phalanges1 and the space between it and the first finger1 than in any other signs conveyed by the physical formation of the rest4 ,the first phalange indexes strength or weakness of will power1 constancy or fickleness1 affection or coldness of disposition4 ,the second phalange shows by what degree of reason the will is guided4 ,should it be much thinner towards the base than at the apex1 a certain degree of narrow-minded1 one-sided views is indicated4 ,the third phalange represents emotions4 ,the two angles stand for music1 and are strongly marked upon the thumb of the musician and composer4 ,the first indicates time1 the second harmony4 ,when the length of the third phalange preponderates over the first and second1 a passionate character1 uncurbed by the power of will1 discipline of reason1 and self-control is shown4 ,in a well-balanced1 warm-hearted nature1 these phalanges are in proportion4 ,extreme length in the first phalange shows a tyrannical and dogmatic will1 which will surely prove a stumbling-block through life1 unless the thumb of the right hand modifies this natural obstinacy4 ,the palmist should beware of1 as it were1 labeling the hand4 ,he cannot be too cautious in reaching an ultimate conclusion4 ,the hand possesses a range of complexities4 ,strength and weakness are mingled4 ,great talents may be mitigated by signs of almost equal inefficiency4 ,therefore all the links of circumstances and character depicted should be consolidated into a chain before the exponent ventures to voice his convictions4 ,the left hand indicates natural tendencies2 the right shows how far the good and bad propensities of the individual have been developed4 ,it is possible that the former may represent an intellectual type which the latter does not verify4 ,for instance1 a clear and unbroken head line in the left hand may be marred and broken in the right1 thus showing that ability in this direction has been neglected2 or it may be that an inefficient head line in the left palm continues clear and deep on the right2 and the conclusion arrived at is1 of course1 that1 by dogged will and perseverance1 inherent incompetency has gradually been remedied4 ,upon the palm six important lines are inscribed1 as shown in ,fig4 #f3-- ,the life line1 which forms a semicircle at the base of the thumb4 ,the head line1 which traverses the palm1 and forms an angle with the life line4 ,the heart line1 which runs above and parallel with the head line4 ,the fate line1 which runs horizontally from ,mount ,saturn to the wrist4 ,the ,apollo or fortune line1 which runs parallel with the fate line from ,mount ,apollo to ,mount ,luna4 ,the line of health1 which forms an angle with the base of the life line1 and reaches almost to ,mount ,mercury4 ,the ring of ,saturn1 reaching from ,mount ,apollo to ,mount ,jupiter4 ,the line of intuition1 curving from ,mount ,mercury to ,mount ,luna4 ,upon the depth1 direction1 and length of these lines the vitality1 health1 affections1 future1 finances1 general tendencies of disposition and circumstances of the subject may be arrived at4 ,illustration3 ,a - ,a4 ,the ,line of ,life4 ,e - ,e4 ,the ,line of ,fortune4 ,b - ,b4 ,the ,head ,line4 ,f - ,f4 ,the ,line of ,health4 ,c - ,c4 ,the ,heart ,line4 ,g - ,g4 ,the ,ring of ,saturn4 ,d - ,d4 ,the ,line of ,fate4 ,h - ,h4 ,the ,line of ,intuition4 ,i4 ,bracelets4 ,,fig4 #f4--,the principal lines of the palm4 ,the manifestation of stars and islands1 dots1 grilles1 and chains are indications of misfortune1 obstacles1 ill-health1 and domestic unhappiness4 ,triangles1 squares1 clear-cut crosses1 when not formed on or by the lines of the hands1 and circles on the mounts1 are fortunate4 ,,signs--,,and ,,wonders6 ,the age of the subject is arrived at in the following manner4 ,divide the fate line1 call the point of division #cj4 ,the age of #aj is slightly above the base of ,luna4 ,from #aj to #ej the line should be partitioned into equal parts2 after that1 however1 the distances lessen4 ,the life line may also be used to calculate age1 but here the method of calculation is reversed1 for childhood is above the thumb1 and old age is indicated by the length of the curve to the wrist4 ,doubtless the most interesting marks to be found among the minor lines of the hand1 such as indicate voyages1 change of environment1 talents and ambitions1 are those which concern the attachments1 love affairs1 and future marriage of the subject4 ,these are the influence lines1 which may be discerned running from ,mount ,luna to the line of ,fate1 from ,mount ,venus to the line of ,life1 and on the ,mount of ,mercury4 ,their depth1 length1 and clearness depend upon the enduring nature of the sentiment involved4 ,when crossed1 barred1 or cut1 they demonstrate the fact that difficulties and opposition from parents1 friends1 or relatives are to be encountered1 or it may be that the influence was merely a fleeting infatuation1 what is commonly known as 8calf-love10 which time and deeper development of the character have annihilated4 ,these signs should be compared with the age calculated upon the fate line--it will then be discovered whether the influence lines are of the past1 present1 or future2 only constant practice and experience can aid the exponent to a correct estimate of the period of these happenings4 ,it may happen that the hand of a man or woman under thirty years of age shows no indication of any of these influences1 but this does not mean that love and matrimony will never happen to them1 for these lines are sometimes late in appearance and may be found years after4 ,an island situated on an influence line is extremely unfortunate1 for it means either that marriage will be rendered impossible by the ill-health of the subject1 or that the man to whom she is engaged is fickle or worthless in character4 ,likewise1 it is unfortunate for ,mercury's influence lines to terminate on the heart line1 for this foretells bereavement and widowhood4 ,should it cross the heart line and run towards ,venus1 a separation is almost certain to culminate the alliance4 ,nearly all the lines traversing ,mount ,luna are attachments or influences connected with the opposite sex4 ,when they rise from the life line1 they may stand for close friends or relatives of the same sex4 ,another important group of lines may be discerned at the base of the palm4 ,the subject should rest the elbow on the table1 with the hand bent over the wrist1 which is marked with 8rascettes0 or bracelets4 ,when these lines curve up towards the palm1 they signify that the ideals1 thoughts1 and impulses governing the character are noble and uplifting2 when they droop to the wrist1 mercenary ambitions and self-interest are dominant4 ,when the rascettes are creased by other lines1 a life of strenuous work is shown4 ,when deep1 smooth1 and continuous--health1 wealth1 and happiness4 ,in drawing-room palmistry1 the palmist is often embarrassed and kept from concentration of thought by the buzzing chatter and laughter of friends and acquaintances1 all of whom are eager to have their hands read1 and the majority of whom expect that a lightning glance is sufficient to reveal every detail of their character and future4 ,palms are thrust under his notice by smiling1 optimistic young people1 each of whom believes implicitly that for her or him the future is a land of honey and roses--a straight sunny path1 wherein there are no piercing thorns and sole-bruising flints4 ,,guileless ,,and ,,good ,we all hold ourselves very dear2 flaws in our natures1 however serious and detrimental to character1 seem trifles light as air4 ,we appear to ourselves--especially when we are young--to be very good and guileless4 ,we are assured that all follies will be conquered1 repented of1 left far behind us in the land of oblivion1 long before old age catches us in the hip and thigh4 ,and the palmist will often find that those who clamor most loudly for frank and impartial revelations are just those who are wounded by a single word that jars their self-esteem or questions the high price set upon their individual qualities4 ,for this reason he must go gently1 speaking without flattery or undue censure1 and upon such occasions he would do well to keep his mind from diving beneath the surface of the trivial pleasant prophecies expected of him4 ,he should never wound the susceptibilities of some nervous1 high-strung soul by prophesying ill-health1 bereavement1 or death4 ,the more serious side of the science can be dealt with only when the exponent and subject are secure from prying eyes and listening ears1 and even then the palmist should be the very embodiment of tact1 sympathy1 and discretion4 ,should the subject really desire the probings of some past secret misfortune1 the palmist may voice his interpretation of the history written in his hand1 but1 in a manner of humane and tender kindness1 making much of the lighter side1 and endeavoring to encourage and help by faith in a happier future4 ,to blurt out some past tragedy or foretell one before others is a wanton cruelty of which the palmist should never be guilty4 ,he should always endeavor to put himself in the place of the subject1 and even when the latter is1 as often happens to be the case1 incredulous of his powers and eager to show his ignorance1 the palmist should not allow himself to be stung to retort by revealing a jealously-guarded secret4 ,the physician1 the clergyman1 the lawyer are the recipients of pathetic and strange confidences2 the palmist will also discover many1 and must ever hold them as inviolably4 ,he must be a gentleman in the highest sense of the word--honorable1 chivalrous1 humane2 and1 whenever the opportunity occurs1 strong to encourage the weak and console and comfort the men and women1 both young and old1 whose hands reveal their heart-break1 weariness1 and sense of failure4 ,,chapter ,,lv ,,phrenology ,,the ,,estate 8,,under ,,the ,,hat0 ,,phrenology is that science which may be said to provide a chart or map for the discovery of the treasures existing in the 8estate under the hat40 ,it is of ,greek origin 7phren1 the mind2 and logos1 science71 and is closely allied to craniology 7,gr43 kranion-logos1 skull-science74 ,the difference between these terms is as follows3--,craniology is a mere acquaintance with the skull4 ,phrenology is a full and detailed knowledge of its contents4 ,this study is not founded on superstition1 and the phrenologist is neither charlatan nor magician1 for1 just as a man's mind may be revealed by the contour of his features1 the twitching or tightening of his lips1 a frowning or smoothing of the brows1 so the physical formation of his skull reveals the propensities1 talents1 virtues1 and weaknesses peculiar to his nature4 ,the thin leather of a bulging purse indicates an amount of coin2 a closer observation demonstrates of what this coin is composed--cents1 dimes1 or dollars--and in the same way the skin of the skull bulges1 and close study and knowledge of the locality of its developments show the various qualities endowed4 ,the student must possess a chart 7,fig4 #a71 and memorize it before he essays to indicate character by means of phrenology1 for its kingdoms are as well defined as the counties on a map4 ,illustration3 ,,fig4 #a4--,phrenology chart4 ,there are forty-two faculties or organs in all--some more prominent than others1 according to the disposition1 temperament1 education1 profession1 and personal inclination of the individual4 #a4 ,amativeness #b4 ,conjugal love #c4 ,parental love #d4 ,friendship #e4 ,inhabitiveness #f4 ,continuity #g4 ,vitativeness #h4 ,combativeness #i4 ,destructiveness #aj4 ,alimentiveness #aa4 ,acquisitiveness #ab4 ,secretiveness #ac4 ,cautiousness #ad4 ,approbativeness #ae4 ,self-esteem #af4 ,firmness #ag4 ,conscientiousness #ah4 ,hope #ai4 ,spirituality #bj4 ,veneration #ba4 ,benevolence #bb4 ,constructiveness #bc4 ,ideality #bd4 ,sublimity #be4 ,imitation #bf4 ,mirth #bg4 ,individuality #bh4 ,form #bi4 ,size #cj4 ,weight #ca4 ,color #cb4 ,order #cc4 ,calculation #cd4 ,locality #ce4 ,eventuality #cf4 ,time #cg4 ,tune #ch4 ,language #ci4 ,causality #dj4 ,comparison #da4 ,human nature #db4 ,suavity ,these may be divided into six important classes3-- #a4 ,the social region1 which includes-- ,a4 ,amativeness4--,normal--interest in and love for the opposite sex4 ,too prominent--material4 ,too small--coldness and indifference4 ,b4 ,conjugal affection4--,normal--constant and faithful love4 ,too prominent--jealous and selfish4 ,too small--fickle and inconstant fancy4 ,c4 ,parental love4--,normal--self-abnegating love for children4 ,too prominent--indiscreet monopolizing4 ,too small--absence of tenderness4 ,d4 ,friendship4--,normal--sociability1 warm attachments4 ,too prominent--too exacting1 infatuations4 ,too small--inability to make friends4 ,e4 ,inhabitiveness4--,normal--love of home and native land4 ,too prominent--intense dislike to travel4 ,too small--a desire for constant change of scenery4 ,f4 ,continuity4--,normal--the power of concentration4 ,too prominent--the prevalence of one idea1 self-centered4 ,too small--lack of concentration4 #b4 ,the selfish propensities-- ,a4 ,vitativeness4--,normal--vitality1 joy of living4 ,too prominent--extreme dread of illness and death4 ,too small--callous of calamity4 ,b4 ,combativeness4--,normal--courageous1 antagonistic instincts4 ,too prominent--quarrelsome4 ,too small--want of mettle1 cowardly4 ,c4 ,destructiveness4--,normal--hardness and durability4 ,too prominent--vindictive4 ,too small--lack of interest1 inability to endure pain or misfortune4 ,d4 ,alimentiveness4--,normal--good and healthy appetite4 ,too prominent--gluttony1 fastidiousness4 ,too small--want of appetite4 ,e4 ,acquisitiveness4--,normal--thrift and economy4 ,too prominent--avarice4 ,too small--extravagant1 a spendthrift4 ,f4 ,secretiveness4--,normal--reserve1 tact1 discretion4 ,too prominent--deceit1 intrigue1 falsehood4 ,too small--indiscreet revelations1 thoughtlessness4 ,g4 ,cautiousness4--,normal--apprehension1 prudent care4 ,too prominent--timid1 over-anxious4 ,too small--reckless1 foolhardy4 #c4 ,self-controlling faculties-- ,a4 ,approbativeness4--,normal--appreciation of public opinion1 courtesy1 manners1 good breeding4 ,too prominent--ostentatious1 8playing to the gallery10 undue love of adulation4 ,too small--ignoring of general opinions1 unconventional4 ,b4 ,self-esteem4--,normal--individuality1 personality1 a proper sense of personal importance and ability4 ,too prominent--conceit1 egoism1 tyranny4 ,too small--sense of inability and incompetency4 ,c4 ,firmness4--,normal--will-power1 assertion of self1 determination1 fortitude4 ,too prominent--overbearing1 perverse1 illogical4 ,too small--inability to concentrate or overcome4 #d4 ,moral sentiments-- ,a4 ,conscientiousness4--,normal--high regard for honor and duty4 ,too prominent--morbid hypersensitiveness4 ,too small--want of principle4 ,b4 ,hope4--,normal--optimistic trust and buoyancy4 ,too prominent--foolish disregard of experience4 ,too small--an inclination to despair1 sad and melancholy4 ,c4 ,spirituality4--,normal--trust1 faith1 religious1 devout1 reverential4 ,too prominent--fanaticism4 ,too small--cynicism4 ,d4 ,veneration4--,normal--chivalry towards the old1 admiration for the great1 modest1 quiet demeanor4 ,too prominent--obsession4 ,too small--disrespectful1 irreverent4 ,e4 ,benevolence4--,normal--philanthropic inclinations1 humane1 charitable1 generous4 ,too prominent--imprudent giving1 waste of sympathy4 ,too small--selfish blindness and indifference4 #e4 ,intellectual faculties-- ,a4 ,individuality4--,normal--a desire for knowledge1 respect and regard for the feelings of others4 ,too prominent--over-curious1 spying4 ,too small--lack of humor4 ,b4 ,form4--,normal--ability to remember faces1 shapes1 and general appearance of buildings1 c4 ,too prominent--sensitiveness to want of beauty and contour4 ,too small--inability to observe shapes carefully4 ,c4 ,size4--,normal--the power of judging proportions at a glance4 ,too prominent--too much sense of comparison4 ,too small--incapable of judging length and breadth4 ,d4 ,weight4--,normal--mechanical and mathematical inclinations4 ,too prominent--great regard for the laws of balance and gravity4 ,too small--awkward movements1 want of harmony4 ,e4 ,color4--,normal--the art of blending colors1 delight in nature4 ,too prominent--hypersensitive of uncongenial environment2 the clashing of colors is torture4 ,too small--a want of artistic sensibility1 taste1 and appreciation2 perhaps color-blind4 ,f4 ,order4--,normal--ability to plan1 to arrange1 to discover the best method for doing business1 c4 ,too prominent--prim1 fussy1 fastidious1 the mind obsessed by little things2 extremely fretted by want of method in others4 ,too small--slovenly1 chaotic1 ,bohemian2 duties performed or left according to mood and inclination4 ,g4 ,calculation4--,normal--the power of mental arithmetic1 the summing up of events4 ,too prominent--self-interest1 any kind action done for the sake of some return1 cold1 distrustful4 ,too small--financial imprudence1 inability to make accounts balance4 ,h4 ,locality4--,normal--swift sense of strange surroundings1 an observation of streets and buildings4 ,too prominent--a passion for explorations4 ,too small--want of observation of new things4 ,i4 ,eventuality4--,normal--interest in present events4 ,too prominent--undue regard for trivial incidents4 ,too small--inability to remember recent events4 ,j4 ,time4--,normal--memory of periods and length of time1 love of punctuality4 ,too prominent--inordinate importance attached to dates1 c4 ,too small--slackness in punctuality4 ,k4 ,tune4--,normal--sense of euphony in speech1 harmony in music4 ,too prominent--passionate love of music4 ,too small--want of appreciation4 ,l4 ,language4--,normal--fluent and attractive speech4 ,too prominent--prosy1 garrulous4 ,too small--inability to express thoughts clearly and concisely4 #f4 ,reasoning faculties-- ,a4 ,causality4--,normal--power of fathoming and understanding what is read or heard4 ,too prominent--theoretical knowledge rather than practical4 ,too small--deficiency in arriving at independent conclusions4 ,b4 ,comparison4--,normal--acquiring of sound knowledge and discarding what is worthless2 discriminating between what is true in art and literature and what is false4 ,too prominent--undue importance attached to words1 carping criticism1 invidious1 harsh4 ,too small--credulous1 easily imposed upon4 ,the student will at first find considerable difficulty in determining the exact position of the different faculties4 ,it is only by close study of his chart1 practice on human heads1 and experience1 that he will at length achieve unerring ability to distinguish1 blend1 and separate the different characters1 inclinations1 intellects1 and emotions with which the human mind is gifted4 ,,bald-,,pated ,,friends ,in case the would-be phrenologist is not possessed of an amiable1 bald-headed relation1 he should endeavor to ingratiate himself in the favors of a hairless friend1 for there is nothing so excellent for practice as a thatchless skull4 ,indeed1 he is fortunate who has a large circle of bald-pated friends and acquaintances1 for1 even if he dare not attempt to find out their qualities by the sense of touch1 he may achieve much by observation4 ,women's heads are the most difficult to examine1 and never should the student exhibit his art on the well-coiffured damsel4 ,there deception lies1 for what seems to him an abnormal development of 8bumps0 will in all probability be artificial pads used by the fair one to discipline her tresses into fashion's latest erection1 to say nothing of hairpins and many other mysteries which the mind of a man1 be he ever so learned in phrenology1 can never hope to fathom4 ,the woman who is really curious to have her faculties read must consent to unpin her locks1 so that the hand of the phrenologist may come in contact with her head2 and he must possess a sensitive touch1 which quickly discerns the different developments of the skull4 ,,phrenologist--,,and ,,man6 ,students of phrenology will be astonished to find what a great deal of information may be gained by means of careful observation1 when actual investigation is impossible4 ,no opportunity should be lost of studying shape1 poise1 and balance of the human head4 ,from the temples and brows of the man occupying the same seat on an omnibus a great deal is to be learnt1 in spite of his headgear2 the faculties #a1 #b1 #c1 #e1 #g1 #i1 #bd1 #be1 #bf1 #bg1 #bh1 #bi1 #cj1 #cb1 #cc1 and #ce will probably protrude1 and demonstrate what degree of love of form1 size1 individuality1 eventuality1 alimentiveness1 destructiveness1 vitativeness1 conjugality1 and amativeness exist in his nature4 ,churches1 concert rooms1 and theaters abound with opportunities for the scrutiny of masculine heads1 and upon each is engraved those abstract qualities furnished by the memorized chart4 ,the phrenologist should take pains to keep his hands and nails perfectly clean4 ,he should bathe them between each experiment1 as the natural grease of the hair soils them1 and no one likes to have his skull touched by unclean fingers4 ,it is essential for him to possess and cultivate a buoyant disposition1 which will tend to help and encourage him1 and not to condemn a subject for the weaknesses of character he discovers4 ,few ills have no cure4 ,this is as true of mental inefficiency as of physical ailments1 and the prophecies of the humane phrenologist are set in the major and not the minor key4 ,every individual1 however seemingly worthless or uninteresting1 possesses some divine gift1 which perhaps lies dormant and neglected through his ignorance of its existence4 ,here it is that the phrenologist is able to let a chink of light penetrate the darkness1 and a few kind1 judicious words will do much to bring back the latent self-respect to him who has despaired of being released from the fetters of evil habits1 intemperance1 sloth1 or indifference to the liberty of wholesome well-being4 ,the motto of the student should be never to condemn4 ,when he has once reached the secret of identity1 he should set himself to appeal and rouse the dying spirit of manhood to a new resurrection of power and achievement1 for probably adverse and bitter circumstances1 heredity1 and poverty have done much to batter down the higher nature and develop the baser qualities of the man whose faculties he examines2 and he can only dimly imagine1 but never fathom1 the strength of the temptations that warp the various molds in which the human mind is set4 ,,the ,,humorous ,,side ,,of ,,phrenology ,in drawing-room exhibitions1 only the lighter side of phrenology should be dealt with4 ,a fund of humor and wit can be demonstrated here1 so that instruction is blended with amusement1 and it is not unfitting to use animals as illustrations of different qualities4 ,for instance1 the refrain in the once-popular lyric1 8,but the cat came back10 clearly testifies that this animal possessed the nodosity of inhabitiveness to a marked degree4 ,not so the man of music-hall fame whose pathetic pleading1 8,please don't take me home10 stirs our heartstrings most potently1 or 8,bill ,bailey10 the wanderer4 ,the small dog that ogles a larger comrade engaged with a bone1 but who fears his mightier powers too greatly to venture open attack1 possesses 8cupboard0 affection rather than amativeness4 ,the blinkered horse1 were it granted speech1 would doubtless demonstrate the fact that it has cultivated the faculty of spirituality in no small degree1 for its sense of the unseen is remarkable4 ,the bull has only to kick up his heels and lower his horns at a red parasol to vindicate his apt discernment of color4 ,the manner in which the watch-dog registers the shape of his enemy's calves in his memory is a truly astonishing sign of his sense of form and locality4 ,the serpent's feline smile at the bird is eloquent of its sociability and expectation2 its glistening coils are the personification of blandness and invitation to embrace4 ,stay-at-home oysters are famous for domesticity4 ,the fish swallowing the hooked worm illustrates a beautiful trust and faith in the providential plans man culminates for his welfare4 ,in the hobbled ass1 wandering over and over his patch of grass1 economy1 adhesiveness1 and a very praiseworthy amount of application are shown4 ,it might be well for the ambitious phrenologist to study the skulls of these and other animals1 birds1 and fishes1 for in these the unadulterated essences of virtues and vices and instinctive propensities are discovered4 ,the human head may be likened to a very rich pudding composed of very different ingredients1 flavorings1 and strata of coloring1 and sugared with conventionalities and hypocrisies4 ,the animal1 on the contrary1 exhibits its true qualities as frankly as a sirloin of raw beef suspended in a butcher's window4 ,,chapter ,,lvi ,,telling ,,fortunes ,,by ,,cards1 ,,dice1 ,,dominoes1 ,,etc4 ,,what ,,the ,,future ,,has ,,in ,,store ,,there is no more amusing diversion for a frivolous half-hour's entertainment than that of fortune-telling by cards4 ,young or old enjoy it1 and with a ready tongue the combinations presented may be so varied that quite surprisingly good predictions can be made4 ,surround the whole business with as much mystery as possible4 ,insist that all shuffling be done by the subject himself1 and that cutting is always carried out with the left hand4 ,learn the meanings of the cards by heart4 ,this is not difficult1 and by doing so one is enabled to tell a fortune quickly3 always a more impressive proceeding than telling it card by card4 ,these are the generally accepted meanings of the cards3-- ,,clubs ,ace of ,clubs1 wealth and prosperity4 ,king of ,clubs1 upright1 affectionate4 ,queen of ,clubs1 deeply in love4 ,knave of ,clubs1 generous and sincere4 ,ten of ,clubs1 a fortune from an unexpected quarter4 ,nine of ,clubs1 obstinacy2 disputes with friends4 ,eight of ,clubs1 a love of money4 ,seven of ,clubs1 fortune and great happiness4 ,six of ,clubs1 a lucrative partnership4 ,five of ,clubs1 marriage with a wealthy person4 ,four of ,clubs1 inconstancy4 ,three of ,clubs1 a second or third marriage4 ,two of ,clubs1 opposition4 ,,spades ,ace of ,spades1 a love affair2 if reversed1 a death4 ,king of ,spades1 an ambitious person4 ,queen of ,spades1 a treacherous friend4 ,knave of ,spades1 indolent1 but well-meaning4 ,ten of ,spades1 an unlucky card4 ,nine of ,spades1 the worst card in the pack2 sickness1 or loss of fortune4 ,eight of ,spades1 opposition from friends4 ,seven of ,spades1 sorrow4 ,six of ,spades1 great fortune4 ,five of ,spades1 success2 a happy marriage4 ,four of ,spades1 illness2 small loss of money4 ,three of ,spades1 an unfortunate marriage4 ,two of ,spades1 a death4 ,,hearts ,ace of ,hearts1 pleasure2 if with ,spades1 quarreling2 if with ,diamonds1 news of an absent friend2 if with ,clubs1 merry-making4 ,king of ,hearts1 nice1 but hasty and passionate4 ,queen of ,hearts1 fair1 affectionate4 ,knave of ,hearts1 the subject's dearest friend4 ,ten of ,hearts1 the antidote of bad cards that lie near it1 but confirming the good4 ,nine of ,hearts1 wealth2 this is also the wish card4 ,eight of ,hearts1 feasting and merry-making4 ,seven of ,hearts1 fickle4 ,six of ,hearts1 generous1 easily imposed upon4 ,five of ,hearts1 waverer1 changeable4 ,four of ,hearts1 marriage late in life4 ,three of ,hearts1 imprudent2 hot-headed action1 which has disastrous consequences4 ,two of ,hearts1 extraordinary success and good fortune4 ,,diamonds ,ace of ,diamonds1 a letter2 the card next to it will indicate its nature4 ,king of ,diamonds1 hot tempered4 ,queen of ,diamonds1 a coquette4 ,knave of ,diamonds1 a selfish person4 ,ten of ,diamonds1 money4 ,nine of ,diamonds1 a roving person4 ,eight of ,diamonds1 marriage late in life4 ,seven of ,diamonds1 a gambler4 ,six of ,diamonds1 early marriage4 ,five of ,diamonds1 friendship4 ,four of ,diamonds1 unhappy marriage4 ,three of ,diamonds1 quarrels1 lawsuits1 and disagreements4 ,two of ,diamonds1 a serious love affair4 ,there are two effective ways of fortune-telling4 ,for the first1 ask your subject to shuffle the cards very thoroughly and to wish all the time4 ,then cut them into three piles with the left hand4 ,should the wish card 7the ,nine of ,hearts7 be one of those cut1 it is a lucky omen4 ,notice two other cards and their possible bearing on the wish4 ,now1 after lifting the cards and putting them together with the left hand1 proceed to divide them into piles in this fashion4 ,the first pile is to yourself4 ,the second1 to the house4 ,the third1 to your wish4 ,the fourth1 what you do expect4 ,the fifth1 what you don't expect4 ,the sixth1 sure to come true4 ,the seventh foretells the happenings of to-night4 ,arrange these piles1 as you deal out the cards one by one1 in a semicircle4 ,then proceed to read them off by their meanings4 ,another and rather more complicated method is to ask the person whose fortune is being told which ,king he will be 7if it is a woman1 one would naturally ask which ,queen74 ,after the wishing has been done as before1 the fortune-teller lays out the cards in rows--seven in a row4 ,to read the fortune the teller must start from the ,king or ,queen chosen1 counting seven from him or her in every case4 ,the ,king or ,queen of the same suit will always be the lover or sweetheart of the one whose fortune is being told1 and the ,knave being their thoughts1 it is1 of course1 quite easy to discover their feelings4 ,it is rather a good plan to write the meanings of the cards on an old pack4 ,by using this a few times a rapid flow of ideas will much more readily be induced4 ,it might be mentioned that a too strict adherence to rule is by no means either necessary or desirable in fortune-telling4 ,tell what the combination of cards suggests to you--quite irrespective of the exact meaning of each--and you will be infinitely more amusing and obtain much greater fame as a wizard4 ,illustration3 ,,fig4 #a4--;,cards dealt for fortune-telling3 #a4 to yourself2 #b4 to the house2 #c4 to your wish2 #d4 what you do expect2 #e4 what you don't expect2 #f4 sure to come true2 #g4 to-night4 ,a few predictions are shown by the accompanying diagrams4 ,fig4 #a depicts the manner of dealing out the cards in sets of seven1 and in what respect each is to be read4 ,illustration3 ,,fig4 #b4--;,cards foretelling a wish about a love affair--leading to an early marriage4 ,fig4 #b shows three cards which might conceivably come together in any one set4 ,they would be read as foretelling the following3--,you will get a wish 7,nine of ,hearts71 which is about a love affair 7,ace of ,spades71 and it will lead to an early marriage 7,six of ,diamonds74 ,fig4 #c conveys the following3--,you will get a letter 7,ace of ,diamonds7 about money 7,ten of ,diamonds74 ,your good fortune1 however1 will not permit you to marry until late in life 7,eight of ,diamonds74 ,the five cards representing ,fig4 #d tell that the subject's dearest friend 7,knave of ,hearts7 will make the acquaintance of a flirt 7,queen of ,diamonds71 and will shortly after suffer illness or slight loss of money 7,four of ,spades71 but afterwards he will fall in love with a fair affectionate woman 7,queen of ,hearts7 and enjoy extraordinary success 7,two of ,hearts74 ,illustration3 ,,fig4 #c4--;,foretelling the receipt of a letter about money1 but the good fortune will not permit the recipient to marry until late in life4 ,illustration3 ,,fig4 #d4--,reveals that the subject's dearest friend will make the acquaintance of a flirt1 and will shortly suffer illness or slight loss of money1 but afterwards will fall in love with a fair affectionate woman and enjoy extraordinary success4 ,a ,,throw ,,of ,,the ,,dice ,although forecasting of the future from dice is one of the most ancient methods of prediction1 it is curiously enough almost unknown in modern days4 ,for this reason it is of special value to the home entertainer1 and will prove infinitely simpler than the cards1 the meanings being easier to learn as well as fewer in number4 ,first chalk a magic circle on the table1 then obtain a small cup or box to shake the dice in4 ,three dice only should be used4 ,the person whose future is at stake must shake and cast the dice in the circle4 ,this1 as in card fortune-telling1 should be done with the left hand4 ,three tells you of an approaching accident2 four1 a rise in your position2 five1 that you will make the acquaintance of one who will be a friend2 six1 predicts loss2 seven1 a scandal2 eight1 a reproach--that is not undeserved2 nine1 a wedding2 ten1 a christening2 eleven1 trouble for one you love2 twelve1 an important letter2 thirteen1 tears2 fourteen1 beware of an enemy2 fifteen1 good luck and happiness2 sixteen1 a journey2 seventeen1 a water journey2 three sixes1 or eighteen points1 is a very good sign4 ,it means great profit in business1 or something the person wishes for very much4 ,,fortune-,,telling ,,by ,,dominoes ,a fairly unique accomplishment is to reveal the future by the aid of dominoes1 and there is something sufficiently fascinating and mysterious about this mode of revelation to fill the uninitiated with awe at the powers of the exponent4 ,each small oblong has its secret meaning by which some happening vital to the subject is illustrated4 ,it is a matter of little difficulty to commit these to memory2 and in this1 as in other methods of divination1 the fundamental principle is that of comparison and calculation4 ,the dominoes used range from double-six to double-blank1 and by these are symbolized the various vicissitudes of fate likely to befall mankind4 ,the exponent places his paraphernalia upon the table1 and1 having turned them with their black spots facing the surface1 proceeds to shuffle them4 ,when this is done1 the subject is requested to draw three pieces1 one at a time4 ,between the choice of each the dominoes are shuffled4 ,the first supplies an impression2 should it be drawn a second time1 the impression becomes a conviction4 ,the third1 however1 may lessen or wholly contradict its degree of importance1 and this is where calculation and comparison in blending the signs are essential to a successful justification and interpretation of these symbols4 ,double-six is an emblem of matrimonial happiness and financial prosperity4 ,six-five is almost equally fortunate4 ,perseverance and concentration are rewarded by ultimate success4 ,six-four implies a comfortable income1 and secures happiness in marriage4 ,six-three demonstrates that fate smiles upon the love and marriage of the subject4 ,six-two4--,prudence1 hard work1 and a certain amount of good luck1 or exposure and shame for any wrong-doing4 ,six-one promises two marriages to the young subject1 the first of which will not be as happy as the second4 ,should the subject be of middle age1 this domino foretells the speedy arrival of good things and the fact that he or she will never be left lonely and uncared for4 ,six-blank is1 alas1 a sign of great trouble--sickness1 death1 or heavy money losses4 ,double-five presages that all achievements will be rewarded with a large amount of success1 but inordinate wealth is not prophesied4 ,five-four is almost as unfortunate a draw as six-blank4 ,should a young girl lift it1 it means that her future husband will be poor and leave her a widow4 ,further1 he may be of extravagant disposition1 in spite of his poverty4 ,five-three indicates a tranquil and contented existence4 ,sufficient money and matrimonial affection of moderate strength1 the couple being incapable of passionate devotion4 ,five-two conveys a warning that love and marriage are destined to an unhappy termination4 ,five-one portends social popularity1 but financial worries and losses4 ,five-blank is supposed to demonstrate egotistical and avaricious characteristics1 tendencies to swindling and intrigues1 also a warning to remain unmarried4 ,double-four4--,the man who earns his livelihood by manual labor may regard this domino as a sign of future security and prosperity1 but to him whose profession needs mental achievement it is rather disastrous4 ,troubles and disappointments await him4 ,four-three4--,matrimony and moderate income4 ,four-two proclaims an early marriage and moderate income4 ,four-one4--,wealth or many friends4 ,four-blank4--,a sure warning that single life will be the best and happiest4 ,it counsels that any secrets imparted to another will be indiscreetly revealed4 ,double-three4--,enormous riches4 ,three-two foretells prosperity in matrimony1 travels1 and speculations4 ,three-one4--,some danger and unhappiness4 ,the necessity for acting with extreme caution in all matters4 ,three-blank4--,domestic unhappiness--such as a quarrel or incompatibility of temperament of husband and wife4 ,the absence of harmony in the home4 ,double-two promises average happiness and income4 ,two-one4--,two marriages1 if the individual be a woman2 financial failures to a commercial man4 ,two-blank4--,the intrigues of unscrupulous persons will meet with temporary success4 ,it also denotes poverty1 and an indolent husband4 ,the individual will return safely from all journeys undertaken4 ,double-one4--,an existence free from money worries2 peace and constancy in love and marriage4 ,double-blank seems to favor the deeds of unprincipled persons1 and foretells want of integrity in lover and husband4 ,,figured ,,futurity ,that a certain amount of character and future may be revealed by means of figures is a fact that may be tested for itself4 ,the results achieved by this method of divination are truly astonishing1 and an ample reward to the mathematician for his attempt to solve the riddle of human nature4 ,certain groups of figures stand for different qualities4 ,those given in the table which follows are only a small portion of the whole1 but they are sufficient for the beginner4 ,each letter of the alphabet has its accompanying digit1 and each digit has its abstract conditions1 thus3-- ,a4 #a4 ,passion1 ambition1 design4 ,b4 #b4 ,destruction1 death4 ,c4 #c4 ,religion1 destiny1 the soul4 ,d4 #d4 ,solidity1 sagacity1 power4 ,e4 #e4 ,the stars1 happiness1 graces1 marriage4 ,f4 #f4 ,perfect labor4 ,g4 #g4 ,course of life1 repose1 liberty1 success4 ,h4 #h4 ,justice1 preservation4 ,i4 #i4 ,imperfection1 grief1 pain1 expectation4 ,j4 #fjj4 ,perfection4 ,k4 #aj4 ,success1 reason1 future happiness4 ,l4 #bj4 ,austerity1 sadness4 ,m4 #cj4 ,fame1 a wedding4 ,n4 #dj4 ,ftes1 a wedding4 ,o4 #ej4 ,pardon1 liberty4 ,p4 #fj4 ,widowhood4 ,q4 #gj4 ,science1 the graces4 ,r4 #hj4 ,a cure4 ,s4 #ij4 ,blindness1 error1 affliction4 ,t4 #ajj4 ,divine favor4 ,u4 #bjj4 ,irresolution4 ,v4 #gjj4 ,strength4 ,w4 7double ,v471 #adjj4 ,perfection of strength4 ,x4 #cjj4 ,safety1 belief1 philosophy4 ,y4 #djj4 ,long and wearisome journey4 ,z4 #ejj4 ,holiness4 #hjj4 ,empire4 #ijj4 ,war1 combats1 struggles4 ,the first thing the exponent asks is the name of the subject4 ,he writes it on a slip of paper1 and next to each letter its accompanying figure4 ,supposing the name to be ,dick ,james ,smith1 it should appear thus3-- ,d #d ,j #fjj ,s #ij ,i #i ,a #a ,m #cj ,c #c ,m #cj ,i #i ,k #aj ,e #e ,t #ajj ,s #ij ,h #h ,now they are added separately thus3-- ,dick #bf ,james #gbf ,smith #bcg ,add the three totals together3-- ,dick #bf ,james #gbf ,smith #bcg ---- ,which makes #ihi ---- #ijj4 ,war1 combats1 struggles4 #hj4 ,a cure4 #i4 ,imperfection1 grief1 pain1 expectation4 ,the deduction being that ,dick ,james ,smith is endowed with a quarrelsome1 headstrong nature1 optimism1 and inefficient will-power1 which are destined to cause him great trouble1 loss1 and misery before they are conquered4 ,should the total of the names reach beyond #acij1 the first digit must be subtracted1 as in the name3-- ,johannah ,christine ,whiting ,j #fjj ,c #c ,w #a1djj ,o #ej ,h #h ,h #h ,h #h ,r #hj ,i #i ,a #a ,i #i ,t #ajj ,n #dj ,s #ij ,i #i ,n #dj ,t #ajj ,n #dj ,a #a ,i #i ,g #g ,h #h ,n #dj ,e #e ----- ----- ------- #gdh #cdd #a1egc ----- ----- ------- ,total #b1ffe4 ,take away the first figure1 leaves #ffe4 #fjj4 ,perfection4 #fj4 ,widowhood4 #e4 ,the stars1 happiness1 graces1 marriage1 showing that ,johannah ,christine ,whiting's life will be a mixture of joy and sorrow1 the latter borne by a courageous and tranquil spirit4 ,her integrity and attractiveness of character will1 no doubt1 bring her much love and many friends4 ,the fortune-teller who uses the cabalistic method of revealing ,destiny's secrets should be extremely careful to attach the correct figures to the letters contained in the names of the subject1 otherwise it is quite obvious that his delineation will be at fault4 ,he should add the numbers several times to make sure they are exact4 ,if he has a good memory1 he will memorize the table of qualities1 and a great aid to this is to practice with it before him1 manufacturing names1 or taking those of some well-known poet1 author1 statesman1 or ecclesiastic4 ,his own name will doubtless reveal the fundamental truths of this method1 and the cognomens of well-known personages will show him the distinguishing traits that have made them famous4 ,for instance1 take ,florence ,nightingale3-- ,f #f ,n #dj ,florence #bji ,l #bj ,i #i ,nightingale #bdf ,o #ej ,g #g --- ,r #hj ,h #h #dee ,e #e ,t #ajj --- ,n #dj ,i #i #djj4 ,long and wearisome voyage4 ,c #c ,n #dj #ej4 ,pardon and liberty4 ,e #e ,g #g #e4 ,the stars1 happiness1 graces4 ,a #a ,l #bj ,e #e ------ ------- #bji #bdf ------ ------- ,,divinations ,,by ,,tarocs ,tarocs differ from the numeral cards used for bridge1 whist1 c41 in several ways4 ,a pack consists of seventy-eight cards1 made up of twenty-two emblematic pictures and fifty-six ordinary4 ,these latter are grouped into four suits of fourteen cards each3--four coat cards--king1 queen1 chevalier1 and valet2 and ten pip cards1 numbering from #a to #aj4 ,the twenty-two emblematic cards are known as the ,major ,arcana1 and are divided into three groups of seven1 which equal twenty-one cards4 ,the twenty-second stands for the highest point successful achievement may reach4 ,the ,major ,arcana contains3-- #ast ,division4 #a4 ,the ,juggler emblematic of the male inquirer4 #b4 ,the ,high ,priestess woman inquirer4 #c4 ,the ,empress action1 initiative4 #d4 ,the ,emperor will4 #e4 ,the ,pope inspiration4 #f4 ,lovers love4 #g4 ,the ,chariot triumph1 providential protection4 #bnd ,division4 #a4 ,justice emblematic of justice4 #b4 ,the ,hermit prudence4 #c4 ,the ,wheel of ,fortune destiny4 #d4 ,strength fortitude1 courage4 #e4 ,the ,hanged ,man trial and sacrifice4 #f4 ,death bereavement4 #g4 ,temperance temperance4 #crd ,division4 #a4 ,the ,devil emblematic of immense force or illness4 #b4 ,the ,struck ,tower ruin and deception4 #c4 ,the ,stars hope4 #d4 ,the ,moon hidden dangers1 enemies4 #e4 ,the ,sun material happiness1 marriage4 #f4 ,judgment change of circumstances4 #g4 ,the ,foolish ,man inconsiderate actions4 ,the remaining card1 ,no4 #bb1 which belongs to this division1 is ,the ,universe1 emblematic of success4 ,the ,minor ,arcana1 divided into two groups of four1 corresponding to the suits of ordinary playing cards3-- ,scepters relate to diamonds1 interpreted as enterprise4 ,cups hearts1 love4 ,swords spades1 misfortune4 ,pentacles clubs1 interest4 ,the four coat cards stand for different conditions of existence3-- ,king1 emblematic of man4 ,divine world 7spirituality74 ,queen1 woman4 ,human world 7vitality74 ,chevalier1 youth4 ,material world 7materiality74 ,valet1 childhood4 ,transition stage 7life in growth74 ,the remaining cards of these suits 7#a to #aj7 are important according to their relation to the coat cards and their numerical value4 ,these are divided into four groups3-- 7#a7 #a1 #b1 #c of each suit appertain to man--abstract qualities1 creation1 and enterprise4 7#b7 #d1 #e1 #f of each suit represent woman--opposition1 reflection1 and negation4 7#c7 #g1 #h1 #i of each suit represent youth and materialism4 7#d7 ,the four tens of each suit represent the stage of transition4 ,in order to tell fortunes by means of tarocs1 the manipulator must be perfectly conversant with the design1 class1 and interpretation of each card4 ,,process ,,of ,,divination ,the complete pack is used4 ,shuffle and cut into three parts1 each composed of twenty-six cards1 thus3-- #bf #bf #bf ,take the central pack1 and place on the right4 ,the inquirer shuffles the two remaining packs1 which equal fifty-two4 ,these are dealt out in a similar fashion--three groups of seventeen cards1 thus3-- #ag #ag #ag ,again remove central pack to the right4 ,deal out the remaining packs1 which equal thirty-four1 in three groups of eleven1 thus3-- #aa #aa #aa ,it will be seen that seventy-eight cards divide equally in the first deal4 ,in the second deal1 however1 only fifty-one cards are used1 so that there is one over4 ,this card is shuffled with the third deal4 ,two cards are now over1 and these are placed as discards1 until the central pack of the last deal of eleven is put on the right1 when they are shuffled with the remaining twenty-two discards4 ,the cards will now be as follows3-- #bf #ag #aa ,discards twenty-four1 making in all seventy-eight4 ,they are next placed beneath each other in sequence1 thus3-- ,a4 #bf1 emblematic of the supernatural1 spiritual4 ,b4 #ag1 thoughts and calling of the individual4 ,c4 #aa1 physical and material4 ,the tarocs of pack ,a1 ,b1 and ,c are now lifted separately1 and placed on the table from left to right in rows4 ,each taroc has its meaning1 and from its relation to its fellows the manipulator is able to present a brief sketch of character1 inclination1 and futurity4 ,another simple method is to shuffle all the cards and request the inquirer to cut4 ,the manipulator then proceeds to draw the first seventeen tarocs1 uncovering only the eighteenth and last card of the pack4 ,these two cards create what degree of sympathy is shared between himself and his client1 the keynote being given by the symbolic meaning attached to the card4 ,the seventeen cards are now revealed from left to right1 their interpretation being given separately4 ,in order to reach a proper signification1 they are then compared as follows3-- ,the first with the seventeenth4 ,the second with the sixteenth4 ,the third with the fifteenth1 and so on1 each process increasing or taking from the first manifestation4 ,,chapter ,,lvii ,,graphology ,,character ,,from ,,handwriting ,,more or less consciously1 every one is a reader of handwriting6 ,if we have not devoted thought and study to the subject1 we merely gather a vaguely favorable1 or unfavorable1 impression from the first letter written to us by a new acquaintance1 and store it up with the other impressions we have already gleaned from their personality4 ,when1 however1 time and thought are given to the fascinating cult of ,graphology1 it will be found to reward its students1 by letting a thousand little sidelights on to character--and if the most 8proper study of mankind is man10 then assuredly is ,graphology a most helpful adjunct to that end4 ,one must crawl before one can walk1 and learn the alphabet before one can master a language1 therefore an impulsive learner must not grow disgusted because his laborious reading of a handwriting is disjointed1 and may be obviously unlike the writer4 ,by the time he can read a character from a letter1 without gathering a word of that letter's sense--which is what every graphologist worthy the name can1 and does do--he will have come to see how one sign outweighs or counterbalances another1 and so learn to read a human character from a sheet of paper and the more or less erratic tracings of a pen4 ,as a home entertainment1 any amount of fun is to be got out of it4 ,one unfailing source of amusement is to notice how all are willing vaguely to accept the ownership of every failing save the one you ascribe to them4 ,the jealous girl is 8perfectly horrid10 she knows4 ,but she certainly 8isn't jealous40 ,the lazy man is 8bad tempered1 perhaps10 but 8no one could call him indolent40 ,friends and relations will1 however1 be ready to assure you of the correctness of your delineation4 ,the first thing to notice when studying character from handwriting1 is the direction of a hand4 ,is it even1 upward1 or tending to meander down the page8 ,the even hand suggests honesty1 conscientiousness1 and a calm1 well-balanced nature4 ,the upward hand tells of will power and ambition1 cheerfulness and energy4 ,the hand that slopes downward tells of a timid and weak nature1 depression and melancholy4 ,it must always be remembered1 however1 that temporary ill-health1 and even a temporary wave of depression1 will frequently alter the direction of a hand4 ,sometimes a beginner is puzzled by the varying direction--now upward1 now downward--of a hand2 generally this betokens a mind struggling at the time with adverse circumstances or ill-health4 ,capital letters and terminals are both important4 ,the more clearly formed and beautiful the letter1 the more refined and artistic the nature4 ,the graphologist picks out certain letters as being especially important--,m1 ,a1 ,l1 and ,d in the capital letters4 ,the small d and e in terminal letters are certainly the most important4 ,,the ,,principal ,,letters ,taken in alphabetical order1 the following are the principal letters to study3-- ,a4 ,well made1 and simple in outline1 indicates refinement1 gentleness1 intelligence1 perhaps poetic feelings4 ,flourishes are always bad1 and tell of pretension and egotism4 ,if a small a is unjoined--open-mouthed as it were--the subject is something of a gossip4 ,this also applies to the small o4 ,illustration3 ,artistic--refined--loves poetry4 ,illustration3 ,selfish and egotistical4 ,b4 ,this is a letter that frequently tells of ostentation and kindred failings4 ,if the small b is well looped1 look for an affectionate nature4 ,c4 ,a well-rounded ,c shows a kindly1 perhaps indolent nature4 ,a curly tail suggests selfishness and egotism4 ,d4 ,the small d is very truth-telling4 ,a small d united to the letter following shows a good sequence of ideas4 ,too much flourish tells of an ill-balanced imagination4 ,e4 ,the capital letter shows egotism1 even as the letter ,c does1 in the curled back tail4 ,a long tail to the small e tells of imagination1 good-nature1 ardor2 if exaggerated1 carelessness4 ,m is the next really important letter--in some respects the most important4 ,the first high loop means ambition1 pride1 discontent4 ,a big flourish to the termination shows egotism2 a moderate one force of character4 ,t1 or rather the particular method of crossing the ,t1 is always of immense interest to the graphologist4 ,energy1 strength of will1 temper1 perseverance1 obstinacy1 may all be shown or found to be lacking4 ,the thickly crossed ,t indicates energy2 the little hook back at the end1 perseverance2 a thick abrupt ending1 temper4 ,impulsive people cross their ,t's high4 ,those who make long bars are energetic and quick in thinking4 ,illustration3 ,egotist4 ,illustration3 ,force of character4 ,illustration3 ,quick-tempered1 willful and persevering4 ,wide spacing between lines suggests extravagant tastes2 accompanied by rounded terminals to the letters1 good-nature and generosity4 ,short tails and a tendency to make as much as possible out of a sheet of paper1 show the opposite characteristic4 ,,misleading ,,signs ,it cannot be too emphatically impressed on the beginner1 that it is fatal to judge from one sign alone4 ,study them all ere you commit yourself to an opinion2 above all1 study the signature4 ,a specimen for delineation should always consist of about six lines1 not of copied matter4 ,it must be written on unlined paper1 and have the writer's usual signature attached4 ,never attempt to gather anything from an envelope1 as one is so often asked to do4 ,like copied matter1 or indeed anything written specially to order1 it is hopelessly misleading4 ,flourishes always show a certain vulgarity of mind4 ,a small and graceful one after the signature--particularly in the case of a woman--is1 however1 quite pardonable1 and is indicative merely of love of praise and appreciation4 ,thick and heavy marks of punctuation are one of the signs of a passionate nature4 ,caution and careful attention to detail are shown by stops between initials and after the signature1 the careful crossing of ,t's and dotting of ,i's4 ,frank1 impulsive natures seldom1 if ever1 close their ,a's and ,o's4 ,illustration3 ,benevolent--kind-hearted1 very refined1 a poor one at keeping a secret1 devoted to those she loves4 ,tender-hearted people invariably slope their writing1 and make long tails and loops4 ,the critic divides his letters4 ,the orator and writer invariably join theirs1 and carry them on from word to word1 even as the sequence of their thoughts follows on4 ,illustration3 ,suggests an affectionate nature--one who would be greatly influenced by his friends6 ,critical--rather impulsive2 a good worker at things he likes4 ,loves beauty and can keep his own counsel4 ,as a general rule1 the more charmingly clear the handwriting1 the more straightforward and cultivated the person4 ,eccentricity1 however1 naturally mars many of the cleverest hands4 ,it will perhaps simplify matters for the student1 if a list is compiled of the principal human virtues and failings1 and the means of discovering them by the handwriting1 described3-- ,ambition4--,this is shown in the upward tendency of the hand4 ,should will power be lacking1 expect discontent4 ,business4--,a businesslike person is always to be recognized by the care of such details as stops1 spacing1 crossing of ,t's1 the general air of law and order in the hand4 ,look for perseverance and will power to insure success4 ,illustration3 ,diplomatic1 lacking in will power1 possessing extravagant tastes1 greatly influenced by the opposite sex4 ,brutality4--,thick1 heavy1 ungraceful handwriting1 impulsive and lacking in intelligence4 ,candor4--,clear1 well-spaced lines and open rounded letters4 ,well and firmly crossed ,t's4 ,caution4--,see ,business4 ,coldness4--,upright hand1 closed up letters1 no graceful 8loop40 ,criticism4--,this is often found allied to a good sequence of ideas4 ,the separated letters of criticism and the carried on ,t crosses1 c41 betray the quick thinker4 ,deceit4--,this is always indicated by the screwed-up1 badly-formed letters1 that run into one another2 lines uneven1 and words that trail off into a mere scrawl4 ,determination is shown by the firmly crossed ,t1 and the general firmness of the whole handwriting4 ,eccentricity4--,always betrays itself in a weird signature4 ,economy1 short tails2 careful hand1 short terminals4 ,egotism4--,look for a flourish--for the curl back in capital ,c's and ,e's2 for the curled back small d4 ,extravagance4--,wide margins and spacing1 a rounded1 rather flourishing hand2 few stops2 generally somewhat thick4 ,compare other signs4 ,fun4--,the love of fun is usually indicated by quaintly-rounded terminals and oddly shaped1 and often rather illegible capitals4 ,generosity4--,curled up terminals1 bounded hand1 ,m's and ,n's written like ,u's4 ,honor4--,even handwriting2 might almost have been written over lines4 ,see ,candor2 and for honesty also4 ,imagination4--,good capitals2 small d's joined to following letter bear a hurried look2 flying crosses to ,t's4 ,indolence4--,bounded hand2 short terminals4 ,intelligence4--,shown by the small attractive hand2 clear and firm good capitals4 ,jealousy4--,a weak hand2 sloping1 long-looped1 flyaway ,t's2 egotistic ,c's4 ,loyalty4--,of course you cannot expect to find much character in handwriting until the age of seventeen or so1 but the lad who is loyal to his friends and his sense of duty--the typical ,boy ,scout's hand1 for example--will ever be found firm and boldly ascending the sheet4 ,melancholy4--,downward tendency1 not only to lines but even words4 ,music4--,look for imagination1 tenderness1 and refinement4 ,neatness4--,easily to be seen4 ,obstinacy4--,heavy2 crushed down as it were on an imaginary line2 thick4 ,originality4--,imagination marked2 unique capitals and flourishes4 ,pride4--,the exaggerated first loop to the ,m4 ,illustration3 ,possesses good sequence of ideas2 clever1 vivacious1 good-natured and devoted4 ,perseverance4--,clear running hand2 well crossed ,t's1 with little hook to end their crossing4 ,selfishness4--,upright hand1 generally heavy4 ,sensitiveness4--,a very sloped1 rather weak1 and long-looped hand4 ,temper4--,thickly crossed1 flying ,t's2 uneven and rather angular handwriting4 ,truth4--,see ,candor4 ,vanity4--,look for flourish beneath signature4 ,will ,power4--,straight thick little bar under signature2 thickly crossed ,t's2 purposeful-looking hand2 no return to tails of ,g's and ,y's4 ,in conclusion1 one might truthfully say that the more closely one studies the handwriting of one's friends1 the more converted must one become to the belief in ,graphology4 ,go slowly4 ,compare carefully4 ,remember always that human beings inevitably suffer from the faults of their qualities1 therefore search and you will be rewarded by the enthusiasm of those to whom you give your delineations4 ,illustration3 ,very intelligent1 quick-tempered1 imaginative1 impulsive1 very refined1 generous1 yet knows the value of money4 ,,chapter ,,lviii ,a ,,successful ,,children',s ,,party ,a ,,word ,,to ,,grown-,,ups ,,it is undoubtedly one of the hardest tasks imaginable to give a successful children's party1 and the reasons that militate against success are legion4 ,in the first place children are the keenest of critics2 secondly1 that which interests a mite of three will bring boredom unmitigated to the 8fellow of ten10 while the maiden of twelve and the 8man0 of fifteen have very strong views of their own on the subject of amusements4 ,a children's party1 then1 is not an undertaking to be approached lightly4 ,it is of course an easy matter to hire the services of a ventriloquist or a conjurer or some public entertainer for the afternoon1 and leave the rest to luck1 yet how many hostesses have come to grief on the rocks of such an enterprise4 ,and let it be remembered that it is an absolute impossibility to provide an entertainment that will appeal equally to children ranging from three to fifteen4 ,only a section will appreciate the show4 ,far better to let the youngsters be their own entertainers4 ,it may of course be presumed that no one will dream of giving a children's party who is the occupant of a very small house4 ,twenty children want more room than fifty adults4 ,this is a truism that cannot be too strongly emphasized4 ,having fixed upon the date for your party and having sent out the invitations1 you will1 wise general that you are1 take complete stock of your field of campaign1 and make up your mind that at least four rooms will have to be more or less gutted to receive the host of youthful invaders you are about to summon forth4 ,let it be supposed that you have in your house three sitting-rooms4 ,the dining-room will be the refreshment room1 the parlor1 stripped of all breakables and needless accessories1 for the older children to play in1 the morning room to be converted into a dressing-room4 ,upstairs it will be as well to transform a bedroom into a play-room for the tiny tots and their nurses4 ,there is one fatal mistake that hostesses are sometimes guilty of in giving a children's party1--they ask their guests to come too early and send them away too late4 ,the secret of success with children lies in the one hackneyed sentence3 8,enough is as good as a feast40 ,children are easily tired1 and they can crowd into three hours as much healthy enjoyment as would certainly not be the case were another hour to be given them4 ,if your young guests leave you with regret you do not want any more thanks2 if they fly to get their coats and hats1 all your labors1 no matter how sincere and arduous they may have been1 will have been spent in vain4 ,from four till seven ,p4,m4 will be found quite long enough1 with tea at half-past four4 ,here again lies another fatal pitfall4 ,avoid kickshaws6--digestion-ruining cream cakes and jam puffs particularly4 ,bread and butter1 chocolate biscuits1 plain cakes1 and sponge cakes produce no ill effects4 ,such advice as this may provoke a scornful laugh from the would-be hostess who reads these lines4 8,teach me how to feed children60 ,i hear her say4 8,what presumption60 ,yet it is homely advice that is the most useful1 the most disregarded when all is said and done4 ,,tea ,,time ,half-past four will be found a good time for tea4 ,soon after five the healthiest hunger will have been appeased1 and then1 having 8let digestion wait on appetite10 marshal your guests into the drawing-room and allow them to 8fall to0 to amuse themselves4 ,let the revels be of the simplest4 ,if there is one game children love more than another it is ,musical ,chairs1 and as there cannot be a person living1 who does not know that historic pastime1 there will be no need to describe it in detail4 ,however1 among your young guests you will be sure to find one or two boys who do not care to play the game1 yet who can be made exceedingly useful in another way as 8umpires40 ,most boys of fourteen or fifteen have a great sense of honor when games are under consideration2 let two boys1 then1 be the arbiters of the sport--let them decide whether1 when the music stopped1 ,tommy found a seat before ,johnny1 or whether ,billy was too rough when he pushed ,mary aside and took the seat that should have been hers4 ,you will have no need to grumble at the impartiality or the reverse of the young umpires4 ,after ,musical ,chairs1 what better than ,blind ,man's ,buff1 a game that never stales1 made more exciting if 8,buff10 after having caught a victim1 fails to identify his prey1 and must therefore pay a forfeit to be chosen by his captive8 ,children love forfeits4 ,hissing and ,clapping1 ,dumb ,crambo1 ,acting ,proverbs--there is no end to the games that children love4 ,and let them choose their own4 ,you will add a thousandfold to the success of your party if you allow your guests to please themselves1 and by so doing you will give yourself far more pleasure than would be the case if you 8fussed about0 arranging1 directing1 ordering4 ,children love responsibility as much as 8grown-ups40 ,above all1 remember that 8,boys will be boys40 ,it is only with the greatest tact that you will be able to eliminate the boisterous element1 which will crop up now and again in the best regulated parties4 ,if you can enlist in your services some jolly bachelor who loves children1 and who can romp with them as a child1 you will have solved the problem of keeping down the rowdy element4 ,a man of this stamp can work wonders with an obstreperous youngster1 can smooth out the creases in your handiwork1 can keep things at concert pitch1 and if at the end of the party he is a worn-out and exhausted wreck--being who he is1 he won't mind4 ,so seven o'clock comes4 ,the time for farewells has arrived4 ,wraps and coats must be put on1 and the little ones1 flushed1 excited1 happy1 are dispatched to their various homes4 8,thank you so much1 it has been fun40 8,we've had a ripping time1 thank you40 8,it's been splendid40 ,such thanks as these will repay you for three hours of babel and pandemonium1 for all the forethought and tact you have brought to bear on a by no means too easy task4 ,,chapter ,,lix ,,parlor ,,games ,,for ,,christmas ,,parties ,,at ,christmas parties1 at which guests of all ages are found1 it is sometimes a perplexing riddle to the hostess to know how to entertain them all4 ,musical items which may delight the older members of the company may only serve to render younger folk restless and dull1 and dancing is not always possible in rooms of limited size4 ,moreover1 there are still many young folk who are unable to set their feet nimbly to waltz and two-step1 and would much prefer a romp to whirling round in time to a measure4 ,self-consciousness and shyness are usually very evident when the party enters the drawing-room1 and this coating of ice1 if not thawed quickly1 will rapidly freeze into impenetrable restraint and gloom4 ,at such times a good game1 quickly organized1 is invaluable4 ,the rules should be explained by the hostess in so simple a manner that the youngest person present can follow them1 and everything necessary should be arranged beforehand to avoid awkward delays and pauses4 ,,the ,,clothes-,,pin ,,game ,the players are formed into two lines a few feet apart2 at the top and bottom of the lines are two tables upon which as many pins as there are players are placed1 and exactly divided into two heaps4 ,the hands of all are crossed at the wrists4 ,the first players of each line use the second player's right hand to pick up a pin4 ,the latter in the same way passes it to the next player1 and in this manner it goes through the lines to the table at the end1 upon which the last players place it4 ,meanwhile1 of course1 the first players are sending other pins down the rows4 ,the line that succeeds in removing all the pins in the heap from one table to the other in the shortest time wins the game4 ,the fun lies in the awkward manipulation of one's neighbor's hand4 ,should a pin be dropped in the process1 it must be picked up by the umpire and returned to the top table1 and throughout the game the wrists must be kept crossed4 ,,proverbs ,one of the party retires while the rest decide upon a well-known proverb4 ,when he returns1 he stands in the center of a semicircle4 ,some one taps three times with a stick1 and at the third tap each player shouts one word of the proverb loudly and simultaneously4 ,this is repeated three times1 and it is amazing how difficult it is to distinguish even the most well-known proverb in the uproar4 ,should one word give the key to the player not in the secret1 the individual who speaks it takes his place4 ,for instance1 in the proverb1 8,all is not gold that glitters10 it may happen that the word 8glitters0 provides the keynote4 ,therefore1 he or she who speaks it takes the place of the one who guesses4 ,the proverb must contain as many words as there are players1 and each shouts only the one word allotted to him4 ,,the ,,game ,,of ,,shadows ,a white sheet is stretched against the wall1 with a lamp immediately before it4 ,all other lights are extinguished4 ,one of the company sits on a chair or stool with eyes fixed on the sheet4 ,behind him the company files noiselessly1 the while he endeavors to identify them by means of the shadows silhouetted on the screen4 ,simple disguises are allowable and increase the fun4 ,for example1 a boy may don a girl's hat1 a girl a boy's2 or a skirt or shawl may be draped over a boy's suit1 thus concealing the wearer's identity4 ,the one whose shadow betrays her takes the place of the player who identifies her4 ,,gardeners ,two rows1 headed by a chosen captain1 face each other4 ,in turn they fire at each other the names of vegetable1 flowers1 or fruit1 beginning with the letter ,a1 and using in turn the other letters of the alphabet--asparagus1 artichokes1 apples1 c4 ,the players on each side set their wits to work to aid their captain when he shows signs of faltering4 ,they are not allowed to speak aloud1 their promptings being given in whispers1 and this is where the fun comes in1 for1 when one is excited and eager to give a word1 it is very difficult to remember to whisper1 especially when placed at the tail of the line4 ,when a gardener and his side pause to remember a word the opposite side counts twenty slowly2 if at the end of that time their opponents still fail they forfeit a man4 ,the game goes on until one captain has secured all his adversaries' followers4 ,should any one except the leaders speak aloud1 he or she is obliged to cross to the other party4 ,when a captain surrenders he is obliged to go to the end of the line1 and the next man takes his place and responsibilities4 ,wild flowers or plants are not allowed4 ,,tidings ,each player adopts some trade or profession4 ,one member reads out the social gossip from a daily paper4 ,when he pauses and points at one of the rest1 that one must reply quickly some sentence regarding his calling or the stock he sells1 for instance-- ,reader4--,the ball that took place at the residence of the ,hon4 ,mrs4 ,mortimer last evening was distinguished by the presence of the ,president4 ,a number of dbutantes were present1 the majority of whom were dressed in--,here the reader glances at the carpenter1 who answers1 8,shavings40 ,reader--8,their headgear consisted of 7glances at the fruiterer7-- ,fruiterer--8,pine-apples40 ,reader--8,their jewels were necklaces 7glances at the ironmonger7-- ,ironmonger--8,of nails40 ,reader--8,the dancing took place in-- ,tobacconist--8,a cigar box40 ,reader--8,the walls of which were richly decorated with-- ,lawyer--8,red tape40 ,reader--8,the band was composed of forty instruments all-- ,doctor--8,medicine bottles40 ,reader--8,the ,president's first partner was-- ,fishmonger--8,a codfish40 ,reader--8,who was most becomingly clad in-- ,druggist--8,silver scales40 ,reader--8,her bouquet was composed of-- ,dry ,goods ,merchant--8,spools of cotton40 ,reader--8,and her tiny feet were cased in-- ,mason--8,bricks40 ,reader--8,her dancing was as light as-- ,plumber--8,a gas escape40 ,reader--8,and her charming smiles showed to view a perfect set of-- ,bootmaker--8,black heels40 ,it can be imagined from this example the merriment and laughter similar answers evoke4 ,,the ,,lawyer ,the party is divided into two rows1 through which walks the lawyer4 ,he asks a number of questions1 and the answers may contain any words except 8yes10 8no10 8white10 8black40 ,the person to whom he puts his query does not reply1 but the one immediately opposite does4 ,the lawyer exchanges places with the one who makes the first mistake4 ,an ,example ,lawyer 7pointing to ,mary7--8,your hair is very long2 is it your own80 ,tom opposite bawls 8false40 ,to ,jessie--8,do these pretty boots pinch your feet80 ,jack--8,of course1 they are two sizes too small40 ,to ,john--8,did you use your razor this morning80 ,jane--8,he hasn't any hair to cut40 ,to ,timothy--8,is your nurse waiting to put you to bed80 ,elsie--8,naturally--he goes to bed at seven40 ,to ,dick--8,what would you like on your next birthday80 ,ethel--8,a rattle40 ,to ,james--8,what is your favorite pastime80 ,alice--8,putting dolly to bed40 ,to ,freda--8,what is the color of your face80 ,andrew 7afraid to say 8white0 for fear of forfeit7--8,green40 ,,cabbages ,any number of players can take part in this game4 ,they kneel in a circle on the floor with fingers stretched out before them and thumbs tucked in4 ,the game is started by the leader's query to her neighbor3 8,can you play cabbages80 ,as the latter has not been initiated into the mysteries of the game1 she at once replies-- 8,no40 ,the question is asked by each player1 and is always answered in the negative until the circle is completed1 when the leader again queries3 8,can you play cabbages80 ,neighbor--8,no40 ,leader 7suddenly7--8,then why on earth are we sitting here80 ,the blank expressions which result in this query are ludicrous in the extreme1 and are followed by bursts of merriment4 ,,the ,,lover',s ,,coming ,all the members of the party save one are massed together at the end of the room4 ,the leader walks close to them1 and throws a light rubber ball towards any person she likes4 ,the person must be prepared to catch the ball4 ,as the leader throws it1 she accompanies the action with these words1 8,my lover comes thus0--the ball is tossed in a way to illustrate the manner of the supposed lover4 ,the thrower terminates her sentence by a letter of the alphabet4 ,the one to whom the ball is thrown has to provide an adjective beginning with the given letter as she catches the ball--thus3 ,leader--8,my lover comes g0--7throws ball74 ,catcher--8,gayly0--7tosses ball back74 ,leader--8,my lover comes h40 ,catcher--8,hopping40 ,leader--8,my lover comes o40 ,catcher--8,one-eyed40 ,leader--8,my lover comes s40 ,catcher--8,smirking40 ,excitement is caused by the difficulty in producing a word at a moment's notice1 and being ready to catch the ball at the same time4 ,,telegrams ,each player is provided with paper and pencil1 upon which any twelve letters are written1 with sufficient space left between for words4 ,the leader gives a topic1 such as a wedding1 accident1 invitation1 c4 ,a watch is placed on the table1 and from ten to fifteen minutes given1 during which each player concocts a telegram from the letters supplied by his left-hand neighbor4 ,at a signal1 the telegrams are thrust under a hat1 and read out in turn by the leader4 ,example #a4--,topic3 a sensational robbery4 ,s4 ,b4 ,o4 ,b4 ,h4 ,m4 ,j4 ,p4 ,k4 ,i4 ,p4 ,h4 ,from these letters may be devised the following telegram3-- 8,serious burglary2 one box hairpins missing4 ,jane prostrate2 kindly inform police--,henry40 ,example #b4--,topic3 a catastrophe4 ,c4 ,a4 ,s4 ,d4 ,p4 ,b4 ,c4 ,a4 ,b4 ,q4 ,d4 ,w4 8,cat ate ,sunday dinner4 ,please bring cheese and bread2 quite distracted--,wifie40 ,the funnier the telegram1 the greater the laughter when it is read out4 ,,the ,,fan ,,fight ,the players divide into two lines4 ,a piece of tape is stretched across the room1 and before every two players a feather is placed4 ,each player possesses a ,japanese fan1 and the object is to lift the feather and waft it on to a stretch of newspaper1 which marks the opponents' den4 ,the dens are guarded by goal-keepers1 also armed with fans1 and their business is a lively one4 ,feathers must not be blown1 or pushed with the hand1 as happens sometimes when the excitement of the game makes one forgetful of all else but the threatening direction the feather is taking4 ,only the fan is to be used4 ,the feathers should be of different colors4 ,when one of a side succeeds in driving a feather into the opposite den1 he and his adversary retire from the game1 but naturally they share the prevailing excitement and watch every movement of their respective sides1 cheering and encouraging them to win4 ,when the feathers belonging to one side are all captured in a den1 the other side is conqueror4 ,,panama ,,canal ,one of the company is chosen as director1 and addresses the company in some such way as this3-- 8,ladies and ,gentlemen1--,it having been discovered by the director of the ,panama ,canal ,company that the water of the canal is often disturbed to a dangerous degree by means of the passionate sighs and turbulent emotions of the passengers cruising upon it1 they have decided that a penitentiary tax shall be levied upon all ships containing lovers1 and that1 for every kiss given1 toll shall be exacted40 ,the company now pass slowly before the director1 who asks each questions as to the name1 destination1 cargo1 number and description of passengers1 and any other questions relating to vessels which may occur to him4 ,no answer must contain the letter ,k1 for this being the initial letter of 8kiss0 is forbidden1 and the person who uses it is obliged to pay any forfeit demanded by the captain4 ,a few questions and answers might run like this3-- ,captain to passing figure-- 8,what have you in your ship80 8,tomatoes40 8,where do you hail from80 8,liverpool40 8,to which port are you sailing80 8,boston40 8,have you any girls on board10 c4 c4 ,of course1 the captain's aim is to force 8the ships0 to introduce the letter ,k in their answers4 ,,the ,,longest ,,line ,this is a good competitive game4 ,men and boys should stand with their feet on a chalked line4 ,each must stoop down to a half-sitting position1 and with the left hand resting on the knee and the right hand inserted beneath the right leg1 draw a line as long as possible without rising or using the left hand4 ,,musical ,,buff ,station a person in each corner of the apartment4 ,then blindfold one of the party1 and lead him to the center4 ,the master of the ceremonies points to each of the four in succession1 and each says in a clear separate tone the word 8,come40 ,when the word has been said by each in turn1 the blind man endeavors to find his way towards the person who spoke first4 ,,magic ,,hieroglyphics ,for this seemingly mysterious achievement a confederate is required4 ,he must know that-- ,a is shown by one tap1 because it is the first vowel4 ,e two taps1 second vowel4 ,i three taps1 third vowel4 ,o four taps1 fourth vowel4 ,u five taps1 fifth vowel4 ,consonants are revealed by means of sentences1 which the wizard speaks in a natural and unostentatious manner4 ,the confederate is banished from the room while the party decide upon the word he shall be called upon to guess4 ,monosyllables are preferable4 ,when he returns the wizard is armed with a wand1 by means of which he proceeds to make imaginary pictures on the carpet4 ,supposing the word to be orange4 ,he begins with four taps1 and the confederate1 who is all attention1 knows that the word begins with the fourth vowel1 ,o4 ,the wizard1 flourishing his wand1 remarks with extreme innocence3 8,rather fatiguing work1 as you perceive40 ,the confederate says to himself ,r4 ,one tap is the next sound for ,a4 ,and some sentence such as-- 8,no one can imagine the mental strain10 supplies the letter ,n to his alert companion4 ,the wizard's query1 voiced in a mocking tone1 8,getting near it80 supplies the letter ,g4 ,a few more imaginary pictures1 and two taps1 which represent letter ,e1 and the confederate with an air of profound relief wipes his brow and declares confidently that the word is orange4 ,result4--,the company applaud loudly1 and is thoroughly mystified4 ,,the ,,auction ,,game ,this is a most fascinating resource for a wet wintry afternoon1 and its preparations are interesting enough to keep a whole houseful of young folk occupied and amused4 ,a large piece of cardboard is cut into twenty-five squares1 and on each is pasted a picture of some article taken from advertisements in old newspapers1 magazines1 or catalogues4 ,the pictures are numbered1 and on the back a price in keeping with the article is written4 ,the more variety there is among the stock for sale the better4 ,it may contain anything from a thoroughbred ,persian to a set of ninepins1 and the prices may be copied from the catalogues1 c4 ,when this is done1 a mint of paper or cardboard money is manufactured4 ,the range of coin corresponds to the prices of the articles4 ,should the most expensive of these be marked #ejj1 the paper money must include that amount4 ,upon each disc of cardboard is written its value4 ,the guests having arrived1 the capital is divided among them in equal portions4 ,if there has been no time to manufacture the coin1 imitation money can be purchased quite cheaply1 and this lends a greater reality to the game4 ,the first thing is to secure an auctioneer amongst the party1 who possesses a ready flow of language1 and is not troubled by shyness4 ,an amiable uncle1 or other grown-up relative1 will do capitally4 ,the auctioneer stands on a chair or stool1 and cries out the article before him1 treating it as if it were real4 ,he is provided with a hammer1 and the company begin an eager bidding for the thing that takes their fancy4 ,the players1 as may be expected1 are as anxious as people in a real auction to obtain what they covet at the lowest price possible4 ,should a member offer more than he is able to pay1 and succeed in being the last to name the highest price1 he pays a forfeit of ten cents to each of the other buyers1 and the article is again placed on the auctioneer's table4 ,the winner is the individual who has got the best value for his money1 and has the most capital in hand by the time the twenty-five articles are sold4 ,it is a good plan to offer prizes--a good one for the discreet and careful buyer1 and a 8booby0 for the poor foolish spendthrift1 who has nothing to show at the end of the game4 ,excitement and eagerness are increased by the cry of the auctioneer1 8,going1 going1 gone60 and the beat of his hammer4 ,if he is able to introduce funny narratives concerning the articles into his harangue1 so much the better4 ,for instance1 a pair of boots1 fashioned from the corpse of the ,king of ,prussia's pet calf1 and the black kid gloves which ,king ,charles ,,ii4 wore at the funeral of his great-aunt2 the mouse-trap that once held prisoner a rodent of aristocratic lineage and purple blood2 the ash-tray1 into which the burnt cigar of ,peter the ,great is supposed to have fallen--all should go at a high price4 ,,the ,,whistle ,another excellent game is played in the following manner4 ,one of the company is blindfolded1 and a long ribbon1 through which is threaded a whistle1 is pinned to his back1 and he is told that he must catch the blower and discover the whistle4 ,of course1 he has no idea that it is on his own person4 ,he is swung into the center of the room1 and his playmates make surreptitious dives at the whistle and raise it to their lips1 taking care not to stretch the ribbon so that he will feel the tug4 ,perfect silence should be maintained by those eddying round him2 they move on tip-toe1 with bated breath1 but now and then sounds of stifled laughter are heard4 ,the 8blind0 man seeks high and low for the possessor of the whistle1 his ears strained to catch the direction of the sound4 ,he may succeed in embracing a youth or damsel1 but his search round her neck1 waist1 or in her fingers for the missing whistle is futile4 ,it will be long ere he guesses the secret1 if he ever does1 and the delight of young and old at his expense is hilarious4 ,,the ,,blind ,,brothers ,all who are unfamiliar with this mysterious game are banished from the room and brought in separately4 ,the master of ceremonies blandly invites each to be seated on one of two chairs placed back to back and touching each other2 the other chair is occupied by one of the initiated in the performance4 ,a sheet is thrown over the couple1 and round them circle those of the guests who are aware of what is to happen4 ,one of the two blind men1 the confederate1 is secretly armed with a light roll of paper4 ,to the strains of the pianoforte1 the other players march round4 ,suddenly the individual who has been brought in feels a light tap on his head2 he should at once cry out to his companion-- 8,brother1 ,i'm balked40 ,the confederate immediately replies1 8,who balked you80 ,the other tries vainly to guess4 ,presently his companion bangs his own head1 and wails in distress-- 8,brother1 ,i'm balked10 and the other replies-- 8,who balked you80 ,it is long before the guileless brother guesses that the assault comes from the arm of his relative lifted out of the sheet4 ,should he fail to do so in a given time1 another victim is called in to take his place2 he joins the circle moving round the chairs1 and sees for himself the manner in which the poor unsuspecting 8brother0 is deceived4 ,,the ,,poets' ,,corner ,this is an excellent and ingenious pastime for young men and women who have outgrown the old-world games of 8,hunt the ,slipper0 and 8,hide and ,seek40 ,the 8poets0 are each given a slip of paper and pencil1 at the head of which they write any question they like4 ,when this is written1 the papers are folded1 so that the sentence is concealed1 and passed on to the left-hand neighbor1 who1 without looking at the question1 writes any word she likes beneath so long as it is a noun4 ,this is again concealed1 and passed to a third party1 who must compose a rhythm or stanza1 which includes both question and noun4 ,as these have no relation to each other1 some ingenuity is needed to link the two in a verse4 ,for example1 suppose the question given is as follows3-- ,question--,what is the time8 ,noun--,chair4 ,verse4 8,what is the time80 ,grandfather asks1 ,this is one of the pleasant tasks ,he sets the children from his chair4 ,and round eyes at the timepiece stare4 ,little ,alice reads the time-- ,the old clock helps her1 and chimes out nine4 ,or-- ,question--,what is your age8 ,noun--,cigar4 ,verse4 ,cigar1 cigar1 ,what is your age8 ,wrinkled and brown1 ,reserved as a sage4 ,till you rest on my lip1 ,and the light is set ,to your tip4 ,what is your age8 ,your eye glows bright ,with the spark of youth4 ,come1 answer with truth6 ,the cigar replies1 ,time flies1 ,an hour perchance ,i may live1 ,the ashes show ,the span of my age4 ,i am calm philosopher1 ,thoughtful sage4 ,,jack',s ,,going ,,strong 8,jack0 is a piece of firewood1 held in the flames until its tip glows4 ,it is then passed from hand to hand among the players4 ,each says1 as he receives the smoldering torch1 8,jack's going strong40 ,the aim is to get rid of 8,jack0 before the spark dies4 ,the player1 who is obliged to own that 8,jack is dead10 is compelled to pay a forfeit4 8,jack0 should be a long stick1 held out at arm's length1 so that1 if he falls by accident1 he will not burn holes in party dresses4 ,the floor should be without a carpet4 ,there is much fun and excitement to be gleaned from this simple game1 as no one wishes to have 8,jack's0 corpse on their hands4 ,,name ,,divinations ,this is a clever puzzle game1 which seems to the beholder to be steeped in magic and mystery4 ,in order to discover the name or birthplace of a person1 the following table of five columns is necessary3-- 7#a7 7#b7 7#c7 7#d7 7#e7 ,a ,b ,d ,h ,p ,c ,c ,e ,i ,q ,e ,f ,f ,j ,r ,g ,g ,g ,k ,s ,i ,j ,l ,l ,t ,k ,k ,m ,m ,u ,m ,n ,n ,n ,v ,o ,o ,o ,o ,w ,q ,r ,t ,x ,x ,s ,s ,u ,z ,y ,u ,v ,v ,y ,z ,w ,w ,w ,y ,z ,the manipulator shows the table to the individual whose name he wishes to discover1 asking him to point out the column or columns that contain the initial letter4 ,a glance at the table will show that if it is in only one column it must be the top letter4 ,should it be found to be in more than one1 it is discovered by adding the first letters of the columns in which it is stated to be1 the sum supplying the alphabetical position of the letter4 ,for example1 take the name ,elizabeth4 ,elizabeth glances at the table and looks for the columns in which her initial letter occurs4 ,it is obvious that she must be careful not to overlook its repetition4 ,she informs you that it is to be found in columns #a and #c4 ,now1 the columns mentioned are topped by the letters ,a and ,d1 which are the first and fourth letters of the alphabet4 ,add these together and you get #e4 ,e is the fifth letter4 ,in case you forget it1 write it on a slip of paper4 ,the next letter1 ,elizabeth informs you1 occurs in columns #c and #d4 ,these are headed by ,d and ,h #d #h #ab4 ,the twelfth letter is ,l4 ,columns #a and #d contain ,i1 headed by ,a and ,h #a #h #i4 ,the ninth letter is ,i4 ,z is found in columns #b and #d and #e1 headed by ,b1 ,h and ,p #b #h #af #bf4 ,the twenty-sixth letter is ,z4 ,the next letter exists only in column ,no4 #a1 therefore it is ,a4 ,the next letter exists only in column ,no4 #b1 therefore it is ,b4 ,the next letter exists only in columns #a and #c4 ,the top letters of these1 ,a and ,d #a #d #e4 ,the fifth letter is ,e4 ,t is found in columns #c and #e4 ,top letters ,d and ,p #d #af #bj4 ,the twentieth letter is ,t4 ,h occurs in column #d1 therefore it is the top letter1 ,h4 ,result--,elizabeth4 ,,wizard ,,photography ,the wizard1 who possesses a confederate1 is banished from the room4 ,during his absence the latter produces a piece of paper1 and declares his intention of taking a photograph of any individual among the company upon it1 in such a manner that it shall be visible to the wizard alone1 who1 upon examining it closely1 will call out the name of the original4 ,naturally every one considers that this must be quite an impossible proceeding1 and for that reason every one becomes very curious and watchful1 making up his mind to discover the trick4 ,the confederate fixes upon one of the company1 poses her to his satisfaction1 tells her not to look grave1 c41 just as professional photographers do1 and when she is quite ready and gazing at the sheet of paper1 which is held out in the manipulator's left hand1 he passes his right over it1 snaps his fingers1 and tells her that the wonder is accomplished4 ,he hastens to wrap the 8plate0 in his handkerchief1 and1 calling in the wizard1 hands it to him1 retiring to a seat where the latter can observe him without appearing to do so4 ,the wizard1 looking very mysterious and wise1 bids the company maintain an unbroken silence1 while he unwraps and examines the 8plate40 ,his confederate1 meanwhile1 imitates as nearly as possible the position of the original of the photograph4 ,should she cross her feet1 toss back her hair1 rest her chin on her hand1 or perform any other trivial action1 the confederate does the same1 quite naturally so as not to rouse any suspicion or notice4 ,all attention being concentrated on the wizard1 his actions will not be observed by any one save the manipulator1 who is led by the position he assumes to guess the individual whose likeness on the 8plate0 is supposed to be visible to him alone4 ,few would realize1 until they try the game1 the wonder and admiration of the guests1 for the wizard who successfully achieves his purpose1 and the means employed1 are seldom1 if ever1 discovered4 ,,the ,,missing ,,ring ,a plain curtain ring is threaded through a piece of tape or ribbon1 knotted at the ends4 ,the guests form a circle round a central figure4 ,the ring is passed swiftly along through hands gripping the tape1 while the master of ceremonies counts one1 two4 ,at three1 all fists must be threaded by the tape and perfectly motionless1 and the man in the center1 who is permitted to observe the circuit of the ring1 is called upon to say which person has possession of it4 ,should he guess rightly1 he changes places with the individual4 ,,apples ,,and ,,nuts ,mix a number of hazel nuts and apples together on a table removed from the wall2 hand a teaspoon and table knife to each of the guests4 ,bid them1 at a given signal1 move to the table1 with the knife in the right hand1 the spoon in the left1 and scoop up one apple and one nut4 ,this is no easy matter on a smooth surface1 for the probability is that the fruit and nuts will roll to the floor4 ,when they are secured they must be conveyed to a dish at the other end of the room4 ,he who performs this feat successfully the most times wins1 and the apples and nuts are awarded him as a prize4 ,,amiable ,,dog ,the party is divided into two lines4 ,the first player begins by saying1 8,our little dog is amiable40 ,the first player on the opposite side must answer quickly with another adjective beginning with the same letter thus1 8,our little dog is artful40 ,meanwhile1 the first player counts ten4 ,if in that time his opponent fails to respond he is obliged to go over to the opposite rank4 ,other letters of the alphabet may be used4 ,the side that gains all the 8men0 wins4 ,,chapter ,,lx ,,parlor ,,tricks ,,and ,,puzzles ,,tangrams ,,one of the oldest and most fascinating puzzles comes1 like so many quaint things1 from the ,far ,east where1 over four thousand years ago1 a learned ,chinaman named ,tan made the invention which forty centuries have been unable to improve or alter4 ,worthy of a civilization that invented ,chess1 ,tan's puzzle has lived on unchanged through the ages1 affording amusement and thought to men of such ability as ,napoleon1 who1 during his exile on ,st4 ,helena1 used to spend hour after hour with the little black geometric figures4 ,illustration3 ,,fig4 #a4--,showing dotted lines marked off for black pieces in tangram puzzle4 ,illustration3 ,,fig4 #b4--,showing square dissected and numbered for tangrams4 ,take a perfect square of stiff cardboard of any size1 say five inches1 and see that the angles and sides are true4 ,now1 very carefully mark it off according to the dotted lines in ,fig4 #a1 which may be explained thus4 ,,abcd is the square4 ,rule a line from ,b to ,c1 and mark off ,m and ,h halfway between ,b and ,d and ,c and ,d respectively1 and join ,m and ,h4 ,find ,g the midpoint of ,,mh and join ,,ag4 ,mark ,k and ,f1 midpoints of ,,ce and ,,eb respectively1 and join ,,kh and ,,fg4 ,having thus marked out the card1 take a very sharp knife and cut the cardboard along the dotted line4 ,you will then have the seven pieces as shown in ,fig4 #b1 which are numbered for convenience sake4 ,having colored these pieces dead black with ,india ink on both sides1 you are ready to start the great ,tangram ,puzzle4 ,illustration3 ,,fig4 #c4--,showing original ,tan presenting puzzle to his wife4 ,illustration3 ,,fig4 #c;a4--,showing how ,tan can be fitted together4 ,all these seven pieces must be fitted against each other1 never overlapping1 in order to make the figures of men1 beasts1 houses1 or the like4 ,take for example ,fig4 #c1 which shows the original ,tan presenting the puzzle4 ,fig4 #c;a shows how the good gentleman can be fitted together1 as the numbers designate which pieces are to be placed against each other4 ,illustration3 ,,fig4 #d4--,showing pieces fitted together to represent figure in cocked hat4 ,illustration3 ,,fig4 #d;a4--,showing how pieces are placed for figure in cocked hat4 ,illustration3 ,,fig4 #e4--,representation of depressed cat4 ,illustration3 ,,fig4 #e;a4--,showing construction of pieces for representation of depressed cat4 ,illustration3 ,,fig4 #f4--,lady holding her skirts high4 ,illustration3 ,,fig4 #f;a4--,showing pieces fitted for representation of lady holding up her skirts4 ,the individual in the cocked hat who appears in ,figs4 #d and #d;a1 is another example of how the pieces are to be put together2 similarly the depressed cat in ,figs4 #e and #e;a1 or the lady in ,figs4 #f and #f;a1 who is holding her skirts up so high as she crosses the street4 ,figs4 #f;b and #f;c show a gentleman apparently tired of life4 ,these seven pieces can be so disposed as to make hundreds of figures1 giving scope for boundless ingenuity and skill4 ,a good winter evening competition can be arranged by making several sets of ,tangram pieces1 and distributing one set to each member of the party4 ,the name of some familiar object should then be announced 7for example--horse--cat--washerwoman71 two minutes being allowed for construction1 and points given to the best ,tangram4 ,illustration3 ,,fig4 #f;b4--,the gentleman tired of life4 ,illustration3 ,,fig4 #f;c4--,showing means whereby depressed gentleman is represented4 ,a variation can be introduced by taking a well-known nursery rhyme or fairy tale1 and asking each person to make a ,tangram to represent a different subject in the tale4 ,supposing 8,the ,farmer's ,boy0 to be the rhyme1 one person would make the figure of that youth1 to another would fall the horse1 to a third the dog1 and so on4 ,as in the former case a prize might be awarded to the most successful manipulator of the little black pieces4 ,a ,,scissor ,,trick ,ask one of the ladies1 who naturally knows all about scissors1 to do the following trick4 ,holding the hands with palms upward1 hang a pair of scissors on the little fingers1 as shown in ,fig4 #g4 ,the fingers should then be slightly bent so that the scissors stick upright as in ,fig4 #h2 next ask her to turn the hands round rapidly back to back when the scissors will make a complete revolution1 and should finally point upward again4 ,but it is just at this point that the trick comes in1 for the fair lady will find that instead of the scissors pointing up to the ceiling1 they are directed down to the floor6 7,fig4 #i47 ,illustration3 ,,fig4 #g4--;,how to hold the scissors4 ,illustration3 ,,fig4 #h4--,showing fingers slightly bent and scissors sticking upright4 ,illustration3 ,,fig4 #i4--,position of scissors after complete revolution4 ,this is the occasion for you to show how really clever you are1 and by bearing the following hints in mind it will prove a very easy matter4 ,when the hands are in the position of ,fig4 #h1 take care that the rings of the scissors are passed over the last joints of the little fingers only1 so that a complete revolution can take place between the palms of the hands and the fingers themselves4 ,to bring the scissors upright will then follow in the natural course of events4 ,,blowing ,,through ,a ,,bottle ,can you blow hard enough to make your breath pass right through a thick glass bottle8 ,the majority of people will say 8,no10 and dare you to perform the task4 ,it is really very easy4 ,take a large round bottle or jam jar1 and place a lighted candle behind it1 as in ,fig4 #aj4 ,now stand so that the bottle or jar is interposed between yourself and the light1 and blow4 ,the flame will be extinguished at once6 ,there is scarcely need to tell your surprised friends that the shape of the bottle has really caused your breath to follow the curve of the two sides1 unite at the back1 and blow out the light4 ,illustration3 ,,fig4 #aj4--;,how the candle flame is extinguished4 ,a ,,safe ,,bet ,lay a dime1 or a dollar if you feel so inclined1 upon the palm of your hand1 and promise to give it to whoever can brush it off with an ordinary clothes brush1 as shown in ,fig4 #aa4 ,the only condition you need make is that they shall brush towards the tips of the fingers and not to one side4 ,you need have no fear of the result1 and can feel quite assured that your money is as safe as if it were in your own pocket4 ,whatever the explanation may be1 the fact remains that no amount of brushing will move the coin the hundredth part of an inch on your open palm4 ,illustration3 ,,fig4 #aa4--,the position of coin in palm4 ,,do ,,not ,,touch ,,the ,,coin ,place a dime upon a polished table and ask one of your friends to pick it up without touching either the coin or the table4 ,illustration3 ,,fig4 #ab4--,showing how coin is removed from table4 ,a glance at ,fig4 #ab shows how the trick is done4 ,slightly curve your hand so that it almost touches the table1 and blow steadily upon the table at a distance of about five or six inches4 ,the force of your breath passing beneath the coin will carry it into your hand4 ,,quis ,,separabit8 ,if there happen to be a newly-married couple amongst your friends1 the following little trick may cause them a blush of happiness4 ,get them to fold their hands1 as shown in ,fig4 #ac1 in such a way that the wedding-ring finger of the left hand1 and the corresponding finger of the right hand1 are doubled inwards as far as the second joint1 and the knuckles of those joints press firmly against each other4 ,illustration3 ,,fig4 #ac4--;,hands folded4 ,illustration3 ,,fig4 #ad4--,thumbs separated4 ,now1 tell them to separate their two thumbs1 as in ,fig4 #ad1 while you say1 8,parents and children may be separated60 ,then let them do the same with the two forefingers1 remarking1 8,brothers and sisters may be separated60 ,the same performance may be repeated with the two little fingers1 and you remark1 8,even lovers may be separated60 ,finally1 let them try to separate the two middle fingers1 when they will find they cannot get them apart4 ,whereupon you state emphatically1 8,but husband and wife can never be divided60 ,illustration3 ,,fig4 #ae4--,paper being drawn through arm to electrify it4 ,,stick ,,no ,,bills ,take a piece of coarse brown paper1 the coarser the better1 and warm it steadily before the fire4 ,now draw it rapidly a dozen times between your arm and your body1 as in ,fig4 #ae1 so that it receives a good friction upon each side4 ,now press the paper against the wall1 and you will find that it remains as firmly stuck as though a whole pot of the best paste had been used for the purpose4 ,a ,,mighty ,,voice ,a prophet is never without honor but in his own country1 and few of your acquaintances will believe you to be such a wonderful person that with a single shout you can break a glass4 ,yet it is very easy to convince them4 ,take an ordinary wine-glass1 and hold it by its foot firmly to the table4 ,make the glass ring with a touch of the finger 7it will probably sound a rather low note74 ,while the glass is yet tingling1 raise it rapidly to your mouth1 and shout the same note that it rang full into the bowl with all your force4 ,the chances are ten to one that the glass will shiver to pieces4 ,the reason of this phenomenon is the vibrations caused by the tingling are so suddenly increased by the strength of your voice that the glass is unable to bear the strain1 and therefore breaks4 ,a ,,genuine ,,match ,it is surprising how universal is the law of love6 ,even two plain pieces of wood are unable to resist the impulses of the great passion4 ,take out the bottom of a match-box1 and split it into two pieces4 ,double over the ends at about a quarter of the way up1 as in ,fig4 #af4 ,on one piece make the rough sketch of a girl1 and upon the other a similar drawing of a man1 and then place the pieces together1 as shown in the illustration4 ,illustration3 ,,fig4 #af4--;,drawings in position4 ,if you pour a few drops of water over the joints of the two pieces of wood1 you will find that the two figures slowly and surely rise up to meet each other1 and will eventually press their two faces closely in a long kiss4 ,they may be some time about it1 but then pleasures delayed are always doubly enjoyable6 ,,the ,,dying ,,fish ,cut a piece of deal into a prism about four inches long1 and color two of the sides black or dark blue1 painting the remaining side white4 ,sharpen one end into a small triangular point1 and paint two eyes and a mouth thereon1 so that the completed figure appears as in ,fig4 #ag4 ,now1 if you put this in a basin of water very heavily salted1 you will find that the fish floats quite naturally1 as in ,fig4 #ah1 whilst if you place him in a basin of plain fresh water1 he will immediately turn on his back and float dead1 with the white side uppermost1 as in ,fig4 #ah;a4 ,illustration3 ,,fig4 #ag4--;,completed figure of fish4 ,illustration3 ,,fig4 #ah4--8;,dead0 fish floating4 ,illustration3 ,,fig4 #ah;a4--,fish on his back4 ,this is caused by the greater density of the salt water acting upon the prism4 ,illustration3 ,,fig4 #ai4--,showing egg hanging on wire4 ,,new-,,laid ,,eggs ,here is a very handy method of discovering whether an egg is fresh or not4 ,pass an elastic band around the egg1 and hang it upon a wire1 as shown in ,fig4 #ai4 ,twist the egg and band round several times1 and then release it1 when the band will rapidly untwist with the egg4 ,if the latter be quite fresh1 it will stop almost immediately1 but if it happens to be rather older than is desirable1 it will twist and untwist1 reversing several times before it finally comes to rest4 ,this applies to eggs which have been boiled--indeed to any egg that is 8set40 ,a ,,will-,,power ,,test ,this is scarcely a trick1 as it really serves to prove which of two persons has the stronger will-power4 ,place a door-key between the pages in the middle of a book in such a way that the handle projects an inch or two1 as in ,fig4 #bj4 ,pass a piece of string round the book1 and draw into a tight knot1 so that the key is held firmly in its place4 ,now1 let the persons who desire to test the strength of their wills support the book by the ring of the key resting on their extended forefingers1 as in the illustration4 ,if one person wills the book to turn from right to left1 and the other wills it to turn in the opposite direction1 it will be found that the book obeys whichever party is possessed of the stronger will4 ,illustration3 ,,fig4 #bj4--;,a will-power trick4 ,there is yet another way of testing this strange example of personal magnetism4 ,let one of the parties 7preferably he of the stronger will7 think of some name1 ,mary1 for instance4 ,informing nobody else of the name he has chosen1 let him repeat the alphabet very slowly1 when it will be found that1 as he arrives at the first letter1 ,m1 the book will give a slight turn1 and will behave in a similar way for all the other letters of the name4 ,if both parties know the name1 the book will turn much more readily1 as a result of the united forces of their wills4 ,illustration3 ,,fig4 #ba4--,the magic repeater4 ,,the ,,magic ,,repeater ,this is an interesting example of some strange agency at work amongst us4 ,make a running noose at the end of a piece of fine thread1 and pass it securely round a quarter1 as shown in ,fig4 #ba4 ,taking care that the thread passes over the tip of the thumb1 support the thread from your hand1 in the manner shown in the illustration1 in such a way that the quarter is hanging within a wine-glass or tumbler4 ,take care also to keep the hand perfectly steady1 and await results4 ,for a few seconds the quarter will oscillate1 but it will soon become quite still4 ,then1 actuated by no motion of your hand1 it will begin to swing to and fro like a pendulum1 and will finally strike one of the sides of the glass4 ,counting the number of times it thus makes the glass ring1 you will find that the number corresponds exactly with the nearest hour to the time of day4 ,for instance1 at #aa3bj there would be eleven rings1 whilst at a quarter to twelve there would be twelve4 ,the cause of this phenomenon can be left to scientists to decide4 ,illustration3 ,,fig4 #bb4--,the obliging banana4 ,,the ,,obliging ,,banana ,it is rare that one can get a fruit so obliging as to peel itself1 but upon certain occasions a banana will put itself out of the way to render this favor4 ,cut off one end of a banana1 and with a knife just start ripping up the skin on the four sides in the usual manner4 ,now take an empty bottle1 put some methylated spirit inside1 and drop a lighted match to ignite the spirits4 ,as soon as the flame has died out1 place the prepared end of the banana in the mouth of the bottle1 and you will find that the banana is slowly drawn inside1 peeling off its skin as the fruit disappears 7,fig4 #bb74 ,the reason for this condescension on the part of the banana is simple4 ,as soon as the bottle begins to cool from the heat of the flames1 the air is contracted inside1 a vacuum is caused1 and the fruit is sucked into the bottle4 ,the same trick can be performed with a water bottle and a shelled hard-boiled egg4 ,,the ,,smoker',s ,,fancy ,although most ardent smokers will admit there is little pleasure in smoking in the dark1 there are few who will not be surprised at the following trick4 ,induce a cigarette devotee to have his eyes bandaged1 and make him moisten the ends of two cigarettes4 ,having lighted one of them1 allow the victim to have a few whiffs and then take it out of his mouth and replace it by the unlighted cigarette4 ,continue changing the cigarettes in this manner for a few minutes1 and you will presently find that he is quite unable to tell which he has in his mouth1 and is quite at a loss to know whether he is puffing away at the lighted 8cig40 or not4 ,illustration3 ,,fig4 #bc4--,the mysterious bands--first stage4 ,,the ,,mysterious ,,bands ,take a full sheet of a large newspaper1 e4g4 the first and last pages 7which make one sheet7 of a paper like the ,new ,york ,times1 and cut three straight strips 7a1 b1 c7 about three inches wide1 as shown in ,fig4 #bc4 ,now join the ends of these strips in the following manner in order to make three loops4 ,in the strip a bend round ,d1 and paste it on to the under side of ,e4 ,make a loop of b in a similar manner1 but giving the strip a half turn1 and pasting the under side of ,f to the under side of ,g4 ,in the third strip this twist is replaced by a full turn of the paper1 so that ,h is pasted on the under side of ,n1 as in the first instance4 ,when making these bands it will be quite easy to conceal from the spectators the twists you have given to the paper2 and1 indeed1 the success of the trick depends upon this part of your preparation not being observed4 ,now comes the exhibition of the trick4 ,cut each of the loops into two1 in the direction of the dotted lines in ,fig4 #bd1 when the following astonishing result will be obtained4 ,the band a will be cut into two equal loops1 as in ,fig4 #bd;a1 the loop b will turn into one large loop twice the size of the original as in ,fig4 #bd;b1 whilst the loop ,c will be transformed into two links of a chain1 as in ,fig4 #bd;c4 ,illustration3 ,,fig4 #bd4--,showing where to cut loops of paper4 ,illustration3 ,,fig4 #bd;a4--,band cut into equal loops4 ,illustration3 ,,fig4 #bd;b4--,showing large loop twice the size of original4 ,illustration3 ,,fig4 #bd;c4--,showing loop ,c transformed into two links of a chain4 ,it need hardly be remarked that the twists given to the original bands are responsible for this strange result4 ,,sold ,,again ,get some one to take a nickel out of his pocket1 and1 without showing it to you1 ascertain the date of the coin1 and then turn it face upwards on the palm of his hand4 ,you will now remark that 8you can tell the date40 ,appear to scrutinize the coin very attentively1 and then1 with the utmost importance1 tell the owner of the penny the actual day of the month1 and smile complacently at his indignation4 ,,simple ,,subtraction ,if you have fifteen matches and remove six1 how can you obtain a remainder of ten8 ,illustration3 ,,fig4 #be4--,showing first arrangement of matches4 ,arrange the matches as in ,figs4 #be a1 b1 and c1 and ask a friend the above-mentioned question4 ,when he gives it up1 remove the six matches marked ,a1 ,b1 ,c1 ,d1 ,e1 and ,f1 and you will have the result shown in ,fig4 #bf4 ,illustration3 ,,fig4 #bf4--,showing result when six matches have been removed4 ,a ,,tricky ,,string ,,puzzle ,take a piece of string about a yard long and tie the ends together1 making a loop4 ,passing this loop through the ring of a key1 hang it upon the extended thumbs of a friend1 as in ,fig4 #bg4 ,the strings are crossed4 ,the trick is to remove the key without taking the string from the other person's thumbs4 ,illustration3 ,,fig4 #bg4--,showing string upon extended thumbs4 ,illustration3 ,,fig4 #bh4--,second stage of string trick4 ,illustration3 ,,fig4 #bi4--,showing mode of freeing key from string4 ,to understand the diagrams it will be necessary to remember the following explanations of the letters used in ,fig4 #bh4 ,a and ,b are the hands of the person just described whose thumbs bear the string4 ,c and ,d are your own hands1 left and right respectively4 ,e is the hand of a third person who holds the key4 ,f and ,g are the two sides of the loop4 ,begin by catching the string ,f on your little finger of ,c and ,g on the little finger of ,d1 as in ,fig4 #bh4 ,now transfer the string from the little finger of ,c to the thumb of ,b1 and thus free your hand ,c4 ,between the forefinger and thumb of ,b you must take the string ,g between the key and ,a4 ,now catch this part you have taken round the thumb of ,b1 slip the string from the little finger of ,d1 and when ,e pulls the key1 it will come quite free from the string 7,fig4 #bi74 ,a ,,sure ,,eye ,stick a sharply-pointed knife1 preferably with a heavy handle1 into the lintel of the door1 or into a wooden beam upon the ceiling4 ,then ask for some one with a sure eye to mark the exact spot on the floor by putting a cent upon it1 where the knife will drop when displaced4 ,this is easily done in the following manner4 ,take care that the knife is very lightly stuck into the wood1 so that it will fall at the slightest touch4 ,fill a glass with water1 and raising it to the knife immerse the handle to the height of an inch or so4 ,then watch where the drop of water1 which will fall when you remove the glass1 strikes the ground1 place the cent upon the spot1 and you will find that the knife will fall upon that identical place4 8,,that ,,is ,,the ,,man0 ,fold a piece of paper into four1 and cut a pointer out of it1 as shown in ,fig4 #cj4 ,now run a needle through a cork and balance the pointer on its tip1 as shown4 ,place an inverted tumbler over the whole contrivance 7,fig4 #cj;a74 ,illustration3 ,,fig4 #cj4--,the paper pointer4 ,illustration3 ,,fig4 #cj;a4--,pointer mounted on cork4 ,by rubbing the outside of the tumbler with a piece of rag1 or even a handkerchief1 you can make the pointer turn in whatever direction you desire1 as it will swing round to whatever portion of the glass you happen to rub4 ,announce that you will make it point to ,mr4 ,jones4 ,if you then rub the glass on the side nearest to that gentleman1 the paper needle will swing round and point directly to him4 ,by rubbing the handkerchief rapidly round and round the glass the needle will be made to revolve with considerable speed1 to the great delight of the younger members of the party4 ,,needle-,,threading ,,extraordinary ,thread a ,no4 #f needle with a couple of yards of fairly coarse cotton or thread1 and draw them through until the two ends are of equal length4 ,now pass the point of the needle right through the two strands1 as in ,fig4 #ca1 and continue pulling the needle as in ,fig4 #ca;a until the threads have passed through each other and appear a continuous piece1 as in ,fig4 #ca;b4 ,this should have been done before showing the trick to the company4 ,as there will be no knot1 it is highly improbable that any one will notice a peculiarity in the thread4 ,illustration3 ,,fig4 #ca4--,needle-threading--first stage4 ,illustration3 ,,fig4 #ca;a4--,thread passing through itself4 ,illustration3 ,,fig4 #ca;b4--,showing thread as a continuous piece4 ,you then state that1 without looking at the needle1 you will thread it with as many strands of cotton as it will hold4 ,proceed in the following way4 ,holding the needle with the point upwards beneath the table1 out of sight of yourself and the others1 catch one of the threads at a point between the eye of the needle and the point where they pass through each other1 as in ,fig4 #cb1 and pull that steadily downwards4 ,illustration3 ,,fig4 #cb4--,showing point where thread is pulled steadily downwards4 ,illustration3 ,,fig4 #cc4--,result of thread passed through eye of needle4 ,illustration3 ,,fig4 #cc;a4--,threaded needle complete4 ,by doing this the invisible knot is passed through the eye1 carrying with it two strands1 and by continuing this action the knot is passed several times1 until eventually a result similar to that shown in ,fig4 #cc appears4 ,drawing the knot to the bottom of this series of loops1 you can then cut off all the ends as well as the knot1 and present the threaded needle to your friends as it appears in ,fig4 #cc;a4 ,,the ,,magician',s ,,bite ,take an ordinary piece of string or thread1 and offer to cut it in two if somebody present will guarantee to join it into one piece again without any knot4 ,you may announce at the same time that by wizardry you are able yourself to do this by a simple bite of the teeth4 ,illustration3 ,,fig4 #cd4--,showing string passed round hands4 ,illustration3 ,,fig4 #cd;a4--,showing ends of string looped together4 ,the trick is done in this way4 ,appear to pass the string round the hands twice1 as in ,fig4 #cd1 whereas by a deft movement1 which can be acquired with a little practice1 you really loop the two ends round each other1 as in ,fig4 #cd;a4 ,holding the point where they cross each other between the finger and thumb 7see ,h1 ,fig4 #ce71 you request some person to cut the two ends at ,g1 promising to join these ends with your mysterious bite4 ,illustration3 ,,fig4 #ce4--,showing point where to cut string4 ,place the string in both hands into your mouth1 and whilst making a mumbling movement1 contrive to catch the short doubled piece1 ,g1 ,h1 in your teeth and retain it there1 whilst extending your hands to the company you show a whole piece of thread1 as in ,fig4 #cf4 ,the little piece which you have kept between your teeth can be easily removed without exciting suspicion1 and there are few people critical enough to measure the string and find there is a piece missing4 ,illustration3 ,,fig4 #cf4--,showing whole piece of thread4 ,a ,,trick ,,in ,,the ,,sunshine ,this trick can only be done on a sunny day1 for a reason which will be very evident to those who try it4 ,obtain a clear glass bottle1 in the cork of which stick a hooked pin4 ,by means of a piece of thread hang a small weight from this pin within the bottle1 as in ,fig4 #cg1 and then request some one to cut the cord without drawing the cork4 ,illustration3 ,,fig4 #cg4--,sun's rays focused on weighted thread4 ,all that is necessary to do this is a magnifying glass which is placed between the bottle and the sun at the right distance to focus the rays of the latter upon the cord4 ,in a few seconds the heat of the converging rays will burn through the thread1 and the weight will fall to the bottom of the bottle4 ,in the same way you can ,,light ,a ,,cigarette ,,without ,,matches ,concentrate the rays of the sun upon the end of the cigarette1 and draw in the ordinary way 7if you are old enough to smoke71 when the cigarette will rapidly be ignited4 ,,another ,,string ,,trick ,stick a penknife into a post or tree1 or other strong upright of wood1 and pass a piece of string behind the post and above the knife1 as in ,fig4 #ch4 ,bring the end ,c round the post and pass ,b over it4 ,bring ,c round again and cross it over the knife1 and ,b round the knife over ,c1 as in ,fig4 #ch;a4 ,pass the ends round the post again1 always remembering that ,b must be over ,c1 and then tie the two ends in a knot1 as in ,fig4 #ci4 ,illustration3 ,,fig4 #ch4--,knife and string trick--first stage4 ,illustration3 ,,fig4 #ch;a4--,knife and string trick--second stage4 ,illustration3 ,,fig4 #ci4--,knife and string trick--third stage4 ,by removing the knife from the post1 you will now find that the whole loop comes away intact1 having never really been passed round the post at all4 ,,try ,,this6 ,a candle can be lighted without approaching the match to the wick in this way4 ,light a candle in the ordinary manner1 and take care that the wick is fairly long and burns brightly4 ,blow it out suddenly1 and by applying a lighted match to the smoke at the height of an inch or two1 the candle will instantly relight without your having to put the match to the wick4 ,a ,,steady ,,hand ,if any of your friends boast of a steady hand1 you can easily give their pride a fall by wagering that not one of them can move a glass of water from one table to another without spilling every drop it contains4 ,fill a tumbler with water to the very brim4 ,place a piece of perfectly flat1 stout paper on the top of it1 as shown in ,fig4 #dj1 and the palm of the hand on the top of that4 ,now turn the glass upside down very quickly and carefully1 and place it upon a flat part of the table1 having done which slide the piece of paper from beneath it4 ,as the air cannot enter none of the water escapes1 but it will be absolutely impossible to move the glass without spilling the water4 ,illustration3 ,,fig4 #dj4--;,a water trick4 ,,chapter ,,lxi 8,,how ,,would ,,you----80 ,,puzzles ,,that ,,please ,,history records that the blind poet ,homer lost his reason in a vain endeavor to solve a riddle1 and from his days until these present times much care and thought have been expended in the invention of puzzles both difficult and simple4 ,it is the object of this chapter to present the reader with a few simple ones4 ,two easy and yet fascinating puzzles can be worked with an ordinary checker-board4 #a4 ,,the ,,traveling ,,checker ,place a checker upon a square near the center of the board1 as in ,fig4 #a4 ,in how few moves can you make it traverse every square in the board and return to its starting-point8 ,illustration3 ,,fig4 #a4--,the traveling checker4 ,illustration3 ,,fig4 #b4--;,joining the rings4 #b4 ,,another ,,checker ,,puzzle ,place sixteen men on a checker-board in such a manner that no three men shall be in a line1 either horizontally or perpendicularly4 #c4 ,,joining ,,the ,,rings ,nine rings are connected by six straight lines1 as shown in ,fig4 #b4 ,connect these same nine rings by four straight lines4 #d4 ,,the ,,ten ,,rows ,this is a puzzle with nine checkers or counters4 ,dispose these counters in such a manner that ten rows are formed with three men in each row4 ,illustration3 ,,fig4 #c4--,the cabalistic sign4 #e4 ,,the ,,cabalistic ,,sign ,fig4 #c shows a piece of paper cut into a famous cabalistic sign4 ,how can you divide it into four pieces which1 placed together1 shall form a square8 #f4 ,,the ,,dangerous ,,anarchists ,once upon a time there were eight anarchists confined in separate cells connected by the system of passages shown in ,fig4 #d4 ,the prisoners1 each of whom had his own number1 occupied cells in the order shown4 ,one day the governor of the jail decided that his prisoners should be transferred from one cell to another in order that their numbers should run consecutively from left to right4 ,accordingly he gave orders for this to be done1 but at the same time directed his warders that on no account were any two prisoners to meet1 either in the passages or cells4 ,as there was only one vacant cell at their disposal1 how did the warders work this maneuver successfully8 ,illustration3 ,,fig4 #d4--,the dangerous anarchists4 ,you will find the best way to solve this problem is to draw a plan similar to that shown in ,fig4 #d1 and place eight numbered counters in the respective cells4 #g4 ,,catching ,,the ,,donkey ,a man once wanted to saddle a donkey1 and proceeded1 bridle in hand1 to the field where ,ned was feeding4 ,let ,fig4 #e represent the field1 which the man entered by the gate at #fc1 whilst the ass was standing in the opposite corner at #b4 ,now you can move either the man or the donkey to any number in the straight line1 but neither must cross or rest upon a line covered by the other4 ,for instance1 if the donkey be at #b1 the man can move to #fb1 #fa1 #ei1 #cf1 or #ac2 but he cannot go to either #fj or to #e1 for then the donkey would gallop up and let fly with his heels4 ,ned1 on the other hand1 can go to #f1 #bh1 #ea1 #c1 or #d1 but if he were to go to #fj or #e the man at #fc would catch him at once4 ,illustration3 ,,fig4 #e4--;,catching the donkey4 ,giving the donkey the first move1 how soon can you place the man in such a position that the ass is cornered and cannot escape being bridled8 #h4 ,,like ,,to ,,like ,illustration3 ,,fig4 #f4--8,like to like40 ,four black and four white counters are placed alternately in a row of ten divisions1 shown in ,fig4 #f4 ,by moving two at a time1 how can you arrange all the blacks and all the whites together in four moves8 #i4 ,,the ,,broken ,,chain ,a lady once took to a jeweler a gold chain1 broken into five pieces of three links each 7,fig4 #g74 ,she asked him to repair the chain1 agreeing to pay #be cents for each link that he had to break and weld in order to restore the chain to its original length4 ,the following day she sent her maid for the chain with #ge cents4 ,if you had been the jeweler1 how would you have mended this chain of five pieces by breaking only three links8 ,illustration3 ,,fig4 #g4--,the broken chain4 #aj4 ,,the ,,diamond ,,cross ,the same lady wished to have a diamond cross reset1 and pleased with the intelligence shown by the jeweler1 she decided to give him the work4 ,illustration3 ,,fig4 #h4--,the diamond cross4 ,but she was determined to give him no opportunity of cheating her1 so she counted the stones from top to bottom 7,fig4 #h71 and found there were nine4 ,she then counted them from the bottom to the extremity of each arm of the cross1 and found that they also numbered nine4 ,having noted these figures1 she sent the cross to be reset4 ,but the jeweler was a crafty man1 and knowing how she had reckoned the diamonds1 he stole two1 and having reset the remainder1 he returned the finished piece of work4 ,when she received her cross1 the lady thought it looked rather different1 and counted the stones according to her former plan4 ,the numbers were exact6 ,so she paid the jeweler1 who went off smiling4 ,how had he managed the theft8 #aa4 ,,the ,,quarrelsome ,,railways ,five competing railway companies decided to place termini in a certain small town4 ,but land was dear2 and after much negotiation they were able to secure sites only as shown in ,fig4 #i4 ,but none of the companies would grant any of its competitors running powers over its lines1 and as the municipal authorities decided that all five lines should enter the city side by side1 the engineers found themselves confronted with the following problem3--,how is each line to reach its destination1 without crossing any of its competitor's tracks8 ,how would you extricate them from this dilemma8 ,illustration3 ,,fig4 #i4--,the quarrelsome railways4 #ab4 ,,another ,,railway ,,problem ,this problem is shown in ,fig4 #aj4 ,in the railway ,a1 ,b1 ,c there are two sidings1 ,a1 ,d and ,c1 ,e2 which meet at ,f4 ,at this latter place there is only sufficient space to contain one car of the size of ,g or ,h1 and there is no room for the engine1 ,i4 ,consequently1 if this engine is sent up either of the sidings it must return by the same tracks4 ,illustration3 ,,fig4 #aj4--,the second railway problem4 ,the point to be discovered is3 ,how can the engine1 ,i1 transpose the two cars ,g and ,h1 by simply using the rails shown in the illustration8 #ac4 ,,the ,,miter ,study ,fig4 #aa closely1 and think how you can divide a piece of paper thus shaped into four similar parts4 ,illustration3 ,,fig4 #aa4--,the miter4 ,,solutions #a4 ,the ,traveling ,checker ,you cannot make the checker traverse all the squares in less than sixteen moves1 as shown in ,fig4 #ab4 ,illustration3 ,,fig4 #ab4--,solution to traveling checker4 ,illustration3 ,,fig4 #ac4--,solution to second checker puzzle4 #b4 ,another ,checker ,puzzle ,the way to place the sixteen pieces so that no three are in a line in any direction1 can be seen from ,fig4 #ac4 #c4 ,the ,rings ,joined ,the nine rings can be joined by four lines1 as shown in ,fig4 #ad4 ,illustration3 ,,fig4 #ad4--,the joined rings4 #d4 ,the ,ten ,rows ,the complicated geometrical figure shown in ,fig4 #ae shows the ten rows formed with nine counters4 #e4 ,the ,cabalistic ,sign ,by making the two cuts shown in ,fig4 #af1 the piece of paper will be divided into four parts that will fit together into a square4 ,illustration3 ,,fig4 #ae4--,the ten rows4 ,illustration3 ,,fig4 #af4--,solution to cabalistic sign puzzle4 #f4 ,the ,dangerous ,anarchists ,the simplest method of rearranging the prisoners was as follows 7as there was only one vacant cell at any time the numbers designate which prisoner was moved therein7--#a1 #b1 #c1 #a1 #b1 #f1 #e1 #c1 #a1 #b1 #f1 #e1 #c1 #a1 #b1 #d1 #h1 #g1 #a1 #b1 #d1 #h1 #g1 #d1 #e1 #f4 #g4 ,catching the ,donkey ,according to the rules of the game1 the donkey moves first1 and the following is one of the shortest methods by which the man can catch him4 ,it will doubtless amuse you to find other1 and probably quicker ways of cornering ,ned4 ,donkey to #c ,man #cf ,don4 #ba ,man #cj ,don4 #c ,man #h ,don4 #d ,man #g ,don4 #e ,man #ab ,when the man has driven the ass into the corner at #e1 of course there is no more chance of escape1 and ,ned has to submit to the bridle with resignation4 #h4 ,like to ,like ,moving two men at a time1 the four moves are3-- #b and #c moved to spaces #i and #aj #e #f #b #c #h #i #e #f #a #b #h #i ,the counters will then appear as in ,fig4 #ag4 ,illustration3 ,,fig4 #ag4--,solution to 8,like to like0 puzzle4 #i4 ,the ,broken ,chain ,to repair the chain the jeweler had recourse to a very simple device4 ,breaking the three links of one of the pieces he used them to join the remaining four pieces1 thus restoring it to the original length4 #aj4 ,the ,diamond ,cross ,the owner of the diamond cross thought she had been very clever in counting the stones as she did1 but her cunning overreached itself1 for the jeweler had only to remove the diamonds of the extremities of the cross-piece1 and shift this latter up one point1 as in ,fig4 #ah1 to make his theft almost unnoticeable4 ,you will find the diamonds count nine1 even though two stones have been removed4 ,illustration3 ,,fig4 #ah4--,solution to diamond cross puzzle4 ,illustration3 ,,fig4 #ai4--,solution to the quarrelsome railways puzzle4 ,illustration3 ,,fig4 #bj4--,solution to miter puzzle4 #aa4 ,the ,quarrelsome ,railways ,after much surveying and discussion1 the railways laid their lines as shown in ,fig4 #ai4 #ab4 ,the ,other ,railway ,problem ,the following is the simplest method by which the engine could transpose the cars ,g1 ,h4 ,i pushes ,g into ,f1 and returns and pushes ,h up to ,g4 ,the two cars are then coupled together1 drawn down to ,c and pushed over to ,a4 ,g is then uncoupled1 and ,i takes ,h back to ,f and leaves it there4 ,i then returns to ,g1 pulls it back to ,e and leaves it there4 ,i then returns to ,h by way of ,c1 and draws it down to ,d1 thus completing the task4 #ac4 ,the ,miter ,a glance at ,fig4 #bj will show how the miter can be divided into four similar parts4 ,,chapter ,,lxii ,,some ,,optical ,,illusions ,,when ,,seeing ,,eyes ,,are ,,blind 8,,but1 ,i tell you1 ,i saw it2 surely ,i can trust my own eyes60 ,how often have we heard this uttered as a conclusive proof of some friend's statement6 ,and really at first it would seem to be an assertion admitting of no further question1 were it not for the fact that we know our eyes are no more infallible than anything else in this world1 and are quite as liable to make mistakes as are our memories4 ,it is true that eyes are good and faithful servants1 fit to be trusted in ninety-nine cases out of a hundred1 but like all good and faithful servants there is that hundredth case when their judgment goes wandering1 and when they leap to rash conclusions1 carried away by deceptive appearances4 ,strange as it may seem1 upon certain occasions1 the best eyes are actually blind6 ,if you shut one eye and hold the page with ,fig4 #a at arm's length1 you will be able to see both the spots ,a and ,b4 ,now look steadily at ,a1 and you will still see ,b quite plainly1 but if you gradually draw the book nearer to your eye1 a certain point will be reached when ,b becomes invisible1 although if you continue to make the book approach your face ,b will spring into view once more4 ,in other words1 at the moment when you could no longer see ,b your blind spot had been directed towards it1 and of course saw nothing4 ,illustration3 ,,fig4 #a4--,when two are one4 ,illustration3 ,,fig4 #b4--,section of the eye4 ,no doubt you would like to know where this blind spot is1 and why our eyes should possess such a thing4 ,fig4 #b shows the section of an eye which can be explained in very simple terms4 ,the thick black line ,a is a sheet of nerves which entirely envelops three-quarters of the eye1 and meeting in a point at ,e passes upwards into the brain1 where it records what the eye has seen4 ,the light enters between the points ,c ,c1 the iris1 and striking through the lens ,b throws all objects within the scope of vision upon what is called the retina or screen1 ,d4 ,now this screen is furnished with millions of little nerves1 each one of which records on the large nerve ,a whatever is thrown upon it1 and all these records are gathered together by ,a and passed up to the brain4 ,but at the spot ,e1 where these big nerves are collected together1 the retina1 as you notice1 is pointed1 and gives no record of what is thrown upon it4 ,so1 you see1 when any object happens to come into such a position with the eye that its image is cast upon the point ,e of the retina1 we have no record sent to the brain--in other words1 we cannot see it4 ,but the eye is not only blind in one point2 it is very apt to be deceived by appearances1 and to make all kinds of mistakes in consequence4 ,take ,fig4 #c for instance4 ,would you not say that ,b ,d is shorter than ,a ,c8 ,yet if you measure them you will find they are the same length4 ,or in ,fig4 #d1 ,a ,b is surely longer than ,c ,d4 ,they are identical4 ,or take ,fig4 #e1 ,a is clearly farther from ,b than ,c is from ,b1 and yet ,a ,b and ,b ,c are of the same length4 ,illustration3 ,,fig4 #c4--;,is ,a ,c longer than ,b ,d8 ,the truth is that your eye is so confused by these different lines that it is wholly unable to form any clear estimate of how great the distances really are4 ,this is shown even more clearly in ,fig4 #f 7technically known as ,zollner's lines71 where you see ,a ,b and ,c ,d1 which have every appearance of being about to meet shortly in the direction of ,a ,c4 ,now if you will measure the distances between ,b ,d and ,a ,c you will find that the lines are exactly parallel1 but the eye has been so deceived by the little cross lines running in different directions1 that it seems incredible the two thick lines are not inclined towards one another at quite a considerable angle4 ,illustration3 ,,fig4 #d4--,which is longer--,a ,b or ,c ,d8 ,illustration3 ,,fig4 #e4--,the distance from ,a to ,b is the same as ,b to ,c4 ,illustration3 ,,fig4 #f4--,zollner's lines4 ,,hills ,,that ,,don',t ,,rise ,should it ever happen that you go cycling in ,france1 you will find this deception practiced upon your eyes all day long4 ,the roads in that country are very straight1 and are bordered upon either side by tall trees1 so that from wherever you stand a long avenue stretches before you to a point where the trees seem to merge into one another1 as parallel lines invariably appear to do4 ,but flat as the country may be1 you will always find yourself confronted with a gentle incline1 as it seems1 very slight but none the less perceptible4 ,you brace for a long and steady climb1 yet somehow1 as you cover the ground1 the hill seems always before you and yet there is no noticeable ascent4 ,the reason is simple4 ,there is no ascent4 ,the borders of trees1 like the little lines in ,fig4 #f1 deceive the eyes in a similar way until it is almost impossible to believe that the hill is merely an optical illusion1 and that the road is flat as the proverbial pancake4 ,there is another trick the eye is very fond of playing us4 ,a straight line1 held on a level with the eye appears very much shorter than it really is4 ,look at ,fig4 #g1 which appears to represent a number of pins lying with their points towards you4 ,now lift the book to the level of the eyes1 close the right one1 and they will appear to be sticking upright in the page4 ,what a jumble of lines there is in ,fig4 #h1 something like a spider's web1 and one can make nothing out of it4 ,but lift the book up1 as in the last example1 and close one eye--the letters are plain enough1 are they not8 ,you have played a trick on your own eye1 and made its habit of shortening lines serve to interpret a message that would otherwise be unintelligible4 ,illustration3 ,,fig4 #g4--,the standing pins4 ,illustration3 ,,fig4 #h4--8,yes or no80 ,,the ,,stars ,,don',t ,,twinkle ,every cloudless night the eyes make a mistake that we can easily discover1 but which we are totally unable to remedy4 ,of course you have looked up to the sky thousands of times and seen the stars twinkling4 ,not only that1 but if the night is clear you can see they are stellate1 or star-shaped1 like the starfish which is named after them4 ,you can see both of these things1 and yet the strange fact is that neither of them is true6 ,the stars do not twinkle at all1 and they are not stellate4 ,the twinkling is the result of the intervening atmosphere1 and not the fault of our eyes2 but the second error can be easily brought home to our untrustworthy organs of vision by the following experiment4 ,illustration3 ,,fig4 #i4--,the illusion of the stars4 ,take a piece of tinfoil and prick a small hole with the point of a pin4 ,now when it is dark put a candle behind the tinfoil in such a way that the light comes through the tiny hole4 ,hold the tinfoil about ten inches from your face1 and the hole will appear irregular4 ,if you bring it nearer1 it will lose even the least resemblance to a hole and appear as a star6 ,of course you know perfectly well that it is round1 but your eyes have deceived you once more in the same way that they deceive you every starlight night1 and the little hole looks something like ,fig4 #i--varying slightly with each individual observer4 ,this deception1 or to put it charitably1 this mistake of the eyes1 is given the very high-sounding name of 8irregular astigmatism10 but for all that it is an illusion pure and simple4 ,like many well-trained servants1 the eyes are quite at a loss if anything contrary to the usual routine is presented to them4 ,they know perfectly well the laws of perspective1--how in the ordinary course of nature these laws are never broken by a hairbreadth4 ,they are therefore accustomed to judge in the fraction of an instant the size of an object by its apparent distance away4 ,that this is the result of practice can be easily seen from the fact that very young creatures--human and otherwise--have no idea of the relative distances of objects1 and strain to touch a distant gas-light1 or1 like a young calf1 rush headlong into a neighboring wall which their green young fancy deludes them into thinking is really some distance away4 ,but as we grow older we learn many things1 and perspective amongst others4 ,,the ,,dwarf1 ,,the ,,man1 ,,and ,,the ,,giant ,now if we make a drawing such as ,fig4 #aj1 which represents three men walking down a passage1 our eyes know quite well that if all these men were of the same size1 ,mr4 ,jones in front would appear smaller than ,mr4 ,smith behind him4 ,and ,mr4 ,smith in his turn would appear smaller than ,brown who closes the procession4 ,yet in our illustration ,jones appears a veritable giant1 towering above ,smith and making ,brown appear a mere pigmy4 ,if you measure them1 you will find they are all three the same size4 ,the reason of the deception is this4 ,the lines showing the passage disappearing into the far distance immediately suggest to the eye the correct perspective1 and1 knowing the laws of that perspective1 the eye is perfectly convinced that if all three were the same size1 ,brown in the rear would appear proportionately bigger than ,jones4 ,as he does not do so1 the eye immediately leaps to the conclusion that he must be very much smaller4 ,it therefore telegraphs to the brain that ,brown is a dwarf1 following in the tracks of an ordinary man and a giant6 ,illustration3 ,,fig4 #aj4--,the dwarf1 the man1 and the giant4 ,,color ,,illusions ,most of us know the result of turning a series of circles 7as in ,fig4 #aa7 horizontally with the eye4 ,the circles appear to revolve rapidly round their center1 and in different directions4 ,this is solely because the eyes become confused1 giving one more proof1 were it needed1 that they are no more infallible than anything else on this wide earth4 ,some very interesting experiments in color illusions can be made4 ,so cunning is the deception played upon us by our eyes1 it is extremely difficult to believe that some of the tints we see in the experiments are but imaginary4 ,illustration3 ,,fig4 #aa4--,revolving circles4 ,illustration3 ,,fig4 #ab4--,the color top4 ,in ,fig4 #ab you see a top which can be constructed of cardboard in this way4 ,take a postcard and cut a circle1 upon which you draw a diameter as ,a ,b4 ,black the part ,a ,c ,b with ,india ink1 and divide the other half into four equal portions by lightly penciling the radii ,g ,e1 ,g ,d1 and ,g ,f4 ,now1 still using your ,india ink1 make arcs in these four divisions in the same way as is shown in the figure4 ,illustration3 ,,fig4 #ac4--,to make black print red4 ,having done this carefully and rubbed out the pencil radii when the ink has dried1 put a pin through the center ,g from the back1 so that the card can easily revolve whilst the pin-head prevents it from falling off4 ,your color top is now ready4 ,make it turn rapidly upon the pin2 look closely at the card and what do you see8 ,the inner circles become red and the outer ones blue6 ,and yet you know perfectly well that the only colors really upon the card are black and white6 ,you can make another top1 after a similar fashion4 ,cut your postcard as before1 making one half of it black4 ,now1 out of the white side1 cut a segment with an angle of #de degrees1 leaving a little piece near the center as shown in ,fig4 #ac4 ,this piece you have left has nothing to do with the effect1 but is simply to make the top revolve better4 ,take an ordinary book1 of which the printing is presumably black1 and revolve the top upon the pin at the rate of about five turns a second 7a sharp twitch with the finger will do this perfectly well74 ,if you look at the printing now you will find the letters are colored red1 as though the book had been printed in red ink6 ,in both these experiments the alternation of black and white has not only confused the eye1 but has deceived it into seeing colors which do not really exist4 ,so we have shown very conclusively that the old proverb1 8all is not gold that glitters10 can be applied to even the plainest of black and white2 and1 as the poet remarks1 8things are not what they seem40 ,therefore1 when people wish to impress you with the evidence of their own eyes and clinch an argument by stating that they saw such and such a thing and cannot be wrong1 show some of these optical illusions and demand a better proof of what they affirm1 very courteously assuring the dogmatist that the best of eyes are liable to make mistakes4 ,,chapter ,,lxiii ,,ciphers ,,and ,,cryptograms ,,successful ,,systems ,,of ,,secret ,,writing ,,from the earliest times secret writing has been considered no less an art than a necessity4 ,innumerable have been the systems invented and the means employed to insure the secrecy of messages and instructions4 ,yet in the passage of time by far the greater number of these methods of cipher has become obsolete and practically useless1 failing in most cases to comply with the three great necessities which ,bacon declared to be indispensable to all ciphers and cryptograms3 7#a7 ,easy of reading and writing2 7#b7 difficult of solution2 and 7#c7 void of suspicion4 ,ciphers may be generally divided into two branches--code ciphers and letter ciphers4 ,the first of these terms refers to systems so arranged that one group of characters represents several words or sentences1 whilst the other term designates those cryptograms where each letter in every word has its corresponding symbol4 ,as letter ciphers are the more usual1 and certainly the handier of the two classes1 examples are given of some systems which have been successfully used at different times and for different purposes4 ,the simplest of all methods1 and1 for that matter1 the easiest to be detected1 consists in having an arbitrary list of numbers1 one of which shall represent each letter in the alphabet--e4g41 ,a appears as #d1 ,b as #h1 ,c as #ab1 c4 ,this plan can be varied by substituting letters for the numbers1 and having each letter of the alphabet represented by another letter--e4g41 ,a being substituted by ,g1 ,b by ,l1 ,c by ,q1 and so on2 but the disadvantages attending these very simple ciphers are so great that for a message of any real importance the system is useless4 ,in the same way the expedient of reversing the alphabet and making ,a represented by ,z1 ,b by ,y1 ,c by ,x1 is too simple and generally known to require further description4 ,one of the easiest and earliest ciphers is shown in ,fig4 #a4 ,this is written in the following manner3 ,the 8bounding0 lines in which the desired letters are contained are drawn and the position of the letter in them indicated by a dot4 ,taking1 for example1 ,fig4 #a1 ,a would be one dot1 ,b two1 and ,c three dots inscribed inside the two lines forming the angle4 ,thus the word ,,cipher would be written 4 ,at this point it might be remarked that in all the examples here given the letters are arranged in their simplest order--that of alphabetical sequence2 whereas1 for practical purposes1 they can be arranged in any form desired1 the more complicated the better4 ,to illustrate this ,fig4 #b shows another arrangement of the letters1 by using which the same word would appear 4 ,a ,b ,c ,j ,k ,l ,s ,t ,u --------------------- ,d ,e ,f ,m ,n ,o ,v ,w ,x --------------------- ,g ,h ,i ,p ,q ,r ,y ,z ,,fig4 #a4--,one of the earliest ciphers4 d j v a o w e p u --------------------- h l s b m r i y --------------------- g k t c q x f n z ,,fig4 #b4--;,another arrangement of cipher shown in ,fig4 #a4 ,an example of another simple cipher created merely by the transposition of letters is shown in ,fig4 #c1 which can be read by taking the first letter of the first line1 the last letter of the last line1 the last letter of the first line1 and the first letter of the last1 then the last letter of the first line1 the penultimate letter of the last1 and so on4 ,when the letters in ,fig4 #c are properly transposed they will be found to read 8,a very simple cipher40 a y p e i e c e p h r i r m l s v ,,fig4 #c4--,transposition of letters cipher4 ,lord ,bacon invented a cipher composed of two letters only1 which1 although confusing to the uninitiated1 is somewhat too cumbersome for any general use4 ,supposing the two letters decided upon to be ,a and ,b1 they are grouped into series of five and employed in the following manner3 ,the first letter in the alphabet1 ,a1 is represented by ,,aaaaa1 ,b becomes ,,aaaab1 ,c appears as ,,aaaba1 ,d as ,,aabaa4 ,using this combination1 the same word 8cipher0 would be written ,,aaaba1 ,,bbaaa1 ,,bbbbb1 ,,aabba1 ,,abaaa1 ,,bbbab4 ,amongst the easy ciphers must be mentioned that shown in ,fig4 #d1 which is used thus3 ,in the center block of small type you find the letters of the word you wish to write in cipher4 ,suppose it to be ,,to-,,morrow4 ,now in the vertical column at the side you find that the letter on a line with 8t0 is ,a1 whilst the letter at the top of the vertical column is ,g4 ,therefore the cipher letters for 8t0 are ,,ag4 ,the next letter1 8o10 is on a line with ,b and under ,e1 so the cipher letters are ,,be4 ,in a similar way 8m0 becomes ,,cd1 and1 proceeding with the remaining letters in the same fashion1 we obtain the whole word written in cipher thus3 ,,ag1 ,,be1 ,,cd1 ,,be1 ,,bf1 ,,bf1 ,,be1 ,,cg4 --------------------------- ,a ,b ,c ,d ,e ,f ,g ,h --------------------------- ,a a d g k n q t x ,b b e h l o r uv y ,c c f ij m p s w z --------------------------- ,,fig4 #d4--,the 8two-letter0 cipher4 --------------- #a #b #c #d #e ------------------ #a a b c d e ------------------ #b f g h i j ------------------ #c k l m n o ------------------ #d p q r s t ------------------ #e uv w x y z ------------------ ,,fig4 #e4--,the ,nihilist code4 ,,russian ,,nihilist ,,code ,an adaptation of the last-mentioned system is shown in ,fig4 #e1 where the letters at the side and top are replaced by numerals4 ,this method is very much in use amongst the ,russian ,nihilists1 who would therefore write the sentence 8,plot discovered0 as follows3 #da1 #cb1 #ce1 #de2 #ad1 #bd1 #dd1 #ac1 #ce1 #ea1 #ae1 #dc1 #ae1 #ad4 ,this1 again1 can be very much complicated by multiplying each number by the position held by the letter in the word4 ,thus in the sentence just put into cipher1 ,p is the first letter in the word 8plot10 ,l is the second1 ,o the third1 ,t the fourth1 whilst in the next word ,d is the first1 ,i the second1 c4 ,you therefore multiply the ciphers in the first word by #a1 #b1 #c1 #d respectively1 and deal similarly with those of the second word4 ,the sentence thus treated would appear--#da1 #fd1 #aje1 #ahj2 #ad1 #dh1 #acb1 #eb1 #age1 #cjf1 #aje1 #cdd1 #ace1 #adj4 ,to read this the system must be reversed1 and each number divided by its position in the word4 ,illustration3 ,,fig4 #f4--;,a musical cipher4 ,a useful form of musical cipher is shown in ,fig4 #f1 which explains itself4 ,in using this system it is usual to separate the different words by dividing the notes into bars1 as can be seen from a glance at ,fig4 #g4 ,here it will be noticed that only crotchets and minims are used for ciphers1 whilst the other notes introduced have no significance1 only serving the purpose of confusing whoever has sufficient curiosity to pry into the message4 ,therefore1 discordant as the passage may sound to the wrong person1 it probably makes very sweet music to whoever has ears and eyes to understand its meaning4 ,illustration3 ,,fig4 #g4--;,a musical appointment4 ,before proceeding to more complicated ciphers1 that known as the fractional may be mentioned4 ,this is a very simple method1 and easily learned4 ,the letters of the alphabet are divided into groups of five as shown in ,fig4 #h1 each group being marked successively up to five1 and each letter in the group treated in the same way4 ,the numerator is used to designate the group to which the letter belongs1 whilst the denominator shows the individual letter in that group4 #a #b #c #d #e --------- --------- --------- --------- ----------- a b c d e f g h i j k l m n o p q r s t u v w x y z #a #b #c #d #e #a #b #c #d #e #a #b #c #d #e #a #b #c #d #e #a #b #c #d #e ,,fig4 #h4--,the fractional cipher4 ,adopting this method the word ,,cipher therefore appears as in ,fig4 #i4 ,as numerals above #e do not appear in this cipher any more than does the figure #j1 they can be added at will to complicate the appearance of the cryptogram1 as shown in ,fig4 #aj1 where the same word is shown with the addition of meaningless numerals4 #a #b #d #b #a #d - - - - - - #c #d #a #c #e #c ,,fig4 #i4--,the word 8cipher40 #aj #bi #dc #bh #aj #dg -- -- -- -- -- -- #ch #dj #af #ci #ef #ci ,,fig4 #aj4--;,complicated fractional cipher4 ,,the ,,sphinx ,now to turn to more scientifically constructed ciphers1 such as have been employed by various ,governments in correspondence with their ambassadors and secret servants4 ,the ,sphinx ,cipher1 shown in ,fig4 #aa1 is based upon a key-word of six or seven letters1 previously arranged by the parties concerned ,a key-alphabet is written in full at the top of the plan1 and against each letter of the key-word a complete alphabet is written as shown in the figure4 ----------------------------- ,a,b,c,d,e,f,g,h,i,j,k,l,m,n,o,p,q,r,s,t ,u,v,w,x,y,z ----------------------------- ,b bcdefghijklmnopqrstuvwxyza ----------------------------- ,a cdefghijklmnopqrstuvwxyzab ----------------------------- ,l defghijklmnopqrstuvwxyzabc ----------------------------- ,f efghijklmnopqrstuvwxyzabcd ----------------------------- ,o fghijklmnopqrstuvwxyzabcde ----------------------------- ,u ghijklmnopqrstuvwxyzabcdef ----------------------------- ,r hijklmnopqrstuvwxyzabcdefg ----------------------------- ,,fig4 #aa4--;,a ,government cipher1 called the 8,sphinx40 ,suppose that the key-word chosen is ,,balfour1 and that the message to be sent is ,,war ,,declared ,,leave ,,now1 the key-word is then applied to the message thus3-- ,,war ,,declared ,,leave ,,now4 ,,bal ,,fourbalf ,,ourba ,,lfo4 ,you then find in the top row the first letter of your message1 which is ,w1 and you see that the letter on a line with ,b and under ,w is ,x1 which will be the first letter of your cipher4 ,you then find ,a above and ,a by the side1 which will give you ,c4 ,you then find ,r above1 and in the ,l horizontal column is its equivalent ,u4 ,proceeding thus with your message you arrive at the cipher1 which reads3 ,,xcu ,,hjisbthh ,,qkhwg ,,qsb4 ,to read this it is only necessary to write the key-word under the cipher and reverse the proceeding4 ,an ingenious cipher1 used by the ,war ,office of a well-known ,continental ,power1 is partially shown in ,fig4 #ab4 ,on two adjacent sides of a square entire alphabets are written1 commencing at any letter 7in the figure they begin at ,k in one and ,s in the other74 ,against each letter of the perpendicular alphabet the entire twenty-six letters are written horizontally1 beginning with ,a and continuing in order4 ,leaving the first of these horizontal alphabets simple1 against the remaining twenty-five1 small alphabets are written as you will see in the figure1 which shows the plain alphabets and five letters so treated4 ----------------------------- ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ----------------------------- ,s ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ----------------------------- ,t ,aa,ba,ca,da,ea,fa,ga,ha,ia,ja,ka,la,ma ----------------------------- ,u ,ab,bb,cb,db,eb,fb,gb,hb,ib,jb,kb,lb,mb ----------------------------- ,v ,ac,bc,cc,dc,ec,fc,gc,hc,ic,jc,kc,lc,mc ----------------------------- ,w ,ad,bd,cd,dd,ed,fd,gd,hd,id,jd,kd,ld,md ----------------------------- ,x ,ae,be,ce,de,ee,fe,ge,he,ie,je,ke,le,me ----------------------------- ----------------------------- ,x ,y ,z ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ----------------------------- ,s ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z ----------------------------- ,t ,na,oa,pa,qa,ra,sa,ta,ua,va,wa,xa,ya,za ----------------------------- ,u ,nb,ob,pb,qb,rb,sb,tb,ub,vb,wb,xb,yb,zb ----------------------------- ,v ,nc,oc,pc,qc,rc,sc,tc,uc,vc,wc,xc,yc,zc ----------------------------- ,w ,nd,od,pd,qd,rd,sd,td,ud,vd,wd,xd,yd,zd ----------------------------- ,x ,ne,oe,pe,qe,re,se,te,ue,ve,we,xe,ye,ze ----------------------------- ,,fig4 #ab4--;,another ,government cipher--still in use4 ,the cipher is used in this way4 ,the letters in each word of the message are divided into couples4 ,these couples are found in the doubled alphabets in the center of the cipher scheme1 and the key letters at the side and top show the actual cipher equivalent4 ,suppose it is desired to put into this cipher the words ,,cable ,,code4 ,dividing the letters into couples ,,ca1 ,,bl1 ,e4 ,,co1 ,,de are obtained4 ,finding the combination ,,ca it is simple to ascertain that the index letters are ,,tm1 which is therefore the cipher4 ,,bl is ,,el1 whilst the remaining letter ,e from the top alphabet is found to be ,,so4 ,treating the word ,,code in the same way the ciphers prove to be ,,hm1 ,,xn1 and therefore the message is transmitted thus3 ,,tmelso ,,hmxn4 ,so far an idea has been given of the systems of cipher from the simplest methods to the most complicated of political cryptograms4 ,although the actual details are necessarily hidden1 it may be assumed as a positive fact that the most secret political ciphers now in use by civilized ,governments are but adaptations of one or other of the methods described4 ,,chapter ,,lxiv ,,secret ,,signs ,,friend ,,from ,,foe ,,in a condition of affairs where every man's hand was against his neighbor's1 the necessity of being able to tell friend from foe was more urgent than in these peaceable times4 ,when plotting was rife upon every hand1 and one man possibly held the lives of many confederates in his power1 knowing that an incautious word of his might doom them all to punishment and probably death1 it became of paramount importance to have some means of discerning allies from enemies4 ,obviously the means of finding out such important information must be such as to awaken no suspicion in the event of a mistake1 whilst on the other hand there should be no possibility of a stranger inadvertently obtaining possession of the secret4 ,from earliest times the formation of ,secret ,societies has necessitated the invention of ,secret ,signs1 and in nine cases out of ten1 it may be said1 the extinction of the societies from one cause or another has resulted in the loss of their secret signs of recognition4 ,there are1 however1 even now1 several ,societies or ,fraternities whose members are possessed of certain signs whereby they can know each other1 and in several cases they claim lineal descent from some of the old fraternities whose origins are lost in antiquity4 ,however1 now that universal liberty1 especially in this country1 has abolished the necessity for concealment1 secret political societies have disappeared1 and with them their complicated systems of signs1 tokens1 and pass-words4 ,in certain colleges and schools societies still exist1 and as a secret bond is held by many to be a very effective link in the dearest of friendships1 below are given a few suggestions to enable you to invent some secret signs which shall be a tie between yourself and such friends as you may consider worthy of initiation into their meanings4 ,like verbs1 secret signs may be roughly classed into active and passive4 ,active signs are those which are given by movements of the limbs or contortions of the face1 whilst passive signs are connected entirely with the disposal of parts of the clothing or the wearing of various objects attached to the person4 ,amongst active signs1 the readiest in execution are those performed by the hands in view of the person1 whose attention it is desired to attract1 e4g41 the signs can be given at the moment of shaking hands1 where such a ceremony is observed4 8,,shakes0 ,,and 8,,passes0 ,in this latter case a very good 8shake0 can be obtained by pressing the thumb firmly against the back of the hand1 as shown in ,fig4 #a4 ,this will arouse no suspicion in anybody ignorant of the meaning1 though1 if reciprocated1 it forms an excellent sign of recognition4 ,illustration3 ,,fig4 #a4--;,a handshake sign4 ,illustration3 ,,fig4 #b4--;,an eyebrow sign4 ,the variety of passes that can be executed with different meanings is astonishing4 ,yet it should be remembered that1 although outsiders may not know what you are saying1 it will always be apparent that 8something is up10 and a very undesirable curiosity will be awakened4 ,on the other hand1 there are many little actions1 unnoticeable in themselves1 which may have a great meaning to those 8in the know40 ,a simple stroking of the eyebrows 7,fig4 #b7 is to all appearances a harmless movement1 but in the secret signs of a well-known society it meant that treachery was in the air1 and every person in the room would have to be watched4 ,in a certain ,italian ,society1 clasping the forehead with the left hand as though in extreme weariness 7,fig4 #c7 implied3 8,be cautious1 you are being watched40 ,a similar action with the right hand meant3 8,we are known1 make your escape as best you can2 leave me alone40 ,in the same society1 when a member found himself in a mixed assembly1 and desired to ascertain who amongst the guests belonged to his fraternity1 he would stroke his left cheek thoughtfully with extended first and second fingers1 as in ,fig4 #d4 ,illustration3 ,,fig4 #c4--,the sign of an ,italian secret society4 ,illustration3 ,,fig4 #d4--,the 8cheek0 sign of an ,italian secret society4 ,the brethren of a very respectable society1 which still flourishes1 are generally credited with knowing each other by a peculiar flourish of the hand when removing the hat1 in a somewhat similar manner to that shown in ,fig4 #e4 ,others make the ceremony of blowing the nose of like importance4 ,illustration3 ,,fig4 #e4--,the hat flourish4 ,there used to be a famous ,italian ,secret ,society divided into several classes or degrees1 each of which had its own especial sign4 ,for the first three degrees these signs were as follows3-- #ast4 ,the right hand is raised to the shoulder1 and then passed slowly down across the body to the left knee4 #bnd4 ,the right hand is placed upon the left shoulder1 then drawn slowly down the left arm until it reaches the hand4 ,thus clasped they are raised to the breast4 #crd4 ,the right hand is clasped1 the thumb and little finger extended4 ,the former is placed against the lips1 whilst the latter touches the breast4 ,those who desire to invent secret signs should avoid all those dependent upon an unnecessary action1 like the hat-flourish4 ,it is more satisfactory to apply the secret to some everyday action which1 from its very unobtrusiveness1 will attract the attention of no stranger4 ,members of certain religious secret societies to this day distinguish one another by a peculiar style of cross1 worn as a pendant from the watch-chain1 whilst a pass-word is current amongst them to enable them to test those whom they meet wearing the symbol4 ,the use of flowers in the button-hole is a very common method of attracting recognition1 whilst a development of the same idea is seen in the wearing of different colored neckties or ribbons1 which in a crowd will pass unnoticed save by those whose attention is desired4 ,yet to both of these systems a certain danger is attached1 for there is always the chance of some unsuspecting person quite inadvertently wearing the same flowers or colors4 ,every one has heard of the language of flowers1 but it is surprising to what an extent this can be carried by enterprising young ladies with a good collection in the garden or green house4 ,it has been frequently proved that some safeguard is a necessary addition to the sign1 and this safeguard usually takes the form of a pass-word4 ,repeated after the sign has been given1 this word serves to show that the secret sign was neither given by accident nor picked up through curiosity4 ,,pass-,,words ,pass-words1 and the methods of giving them1 vary considerably4 ,the word1 which must of course be known to all duly intrusted with the secret1 should be of two syllables4 ,one party called ,a says the first syllable1 and the other person ,b repeats the second1 then saying the whole word4 ,supposing the pass-word chosen be ,oxford1 ,a would make some remark introducing the word ,ox1 whilst ,b1 replying in a similar vein1 would mention the last syllable 8ford0 and conclude by repeating the whole word4 ,with this system it is almost impossible for an outsider to palm himself off as one of the elect1 even if he has become acquainted with all the signs of the society4 ,it is a well-known fact that gypsies have a concerted plan of signals which are employed to show members of the party the direction taken by their leaders4 ,,the 8,,patteran0 ,the 8patteran10 as it is called1 is made in various ways4 ,a piece of rag fluttering from some bush near a cross-road1 is a favorite signal1 whilst small twigs or leaves strewn in a particular direction1 have a somewhat similar meaning4 ,tramps and vagrants of all kinds have a series of signs1 which they chalk upon the walls of the various houses at which they call1 serving to inform their brethren of the treatment received at the hands of the occupiers4 ,by this method a rude cross will usually describe the rather chilling welcome offered them by an irate householder1 whilst a rough sketch of a loaf of bread shows that the inmates are sufficiently sympathetic to dispense with a portion of 8the staff of life40 ,on the other hand1 an upraised leg with a boot upon its foot tells a tale which need not be further enlarged upon4 ,as to the various modes of recognition that can be produced by whistles and cries of all kinds1 they are too familiar to require description in these pages4 ,,chapter ,,lxv ,,games ,,and ,,amusements ,,for ,,the ,,blind ,,the ,,wonderful ,,sense ,,of ,,touch ,,it cannot fail to strike those of us who are blessed with the use of our eyes how extremely fortunate it is that our blind friends need not be debarred from many of our games4 ,being deprived of their sight1 their sense of touch is developed to such an incredible extent that in the playing of many games their fingers prove of the same use to them as our eyes do to us4 ,practically all games for the blind can be purchased at very moderate cost1 yet as they can be quite easily made at home the following hints are offered in the hope that they will prove of use1 and help some of our readers to entertain a friend less fortunate than themselves4 ,,cards ,an ordinary pack of cards can be very simply adapted to the use of the blind4 ,illustration3 ,,fig4 #a4--,pin pricks showing value and suit of card4 ,illustration3 ,,fig4 #b4--;,distinguishing marks for suits and color respectively4 ,by means of a large pin1 the designation and value of a card can be pricked on the back1 so that the upraised holes are perceptible to touch4 ,these values and denominations should be pricked in the corner where the small designation of the value of a card is always to be found1 as in ,fig4 #a4 ,in ,figs4 #b and #c are shown the marks which should be pricked4 ,these are in the ,braille alphabet1 now universally understood by the blind1 and read by them with the same ease as we read printing4 ,illustration3 ,,fig4 #c4--,values to precede the signs for suits4 ,illustration3 ,,fig4 #d4--;,cards prepared for ,patience4 ,in ,whist or ,bridge1 each person1 as he plays his card1 states what it is1 ,king of ,hearts1 and so on1 as this saves feeling the cards after they have been laid on the table4 ,a very suitable game1 calculated to amuse the player for hours1 is ,patience1 under all its forms4 ,for this the cards must be prepared somewhat differently1 as in many games the first thing to be distinguished is the color4 ,the handiest plan is to mark a ,b or an ,r for ,black or ,red1 in ,braille characters immediately before1 or underneath the denomination4 ,a glance at ,fig4 #d will serve to show what is meant4 ,with the cards thus marked1 any game of ,patience can be played as easily by a blind person as by an ordinary player4 ,,checkers ,an ordinary ,checker ,board can be adapted for the use of the blind with very little trouble and no expense4 ,cut thirty-two squares of thick cardboard1 each square identical in size with the black squares on the ,checker ,board4 ,upon each of the black spaces one of these pieces of card should be glued1 so that when complete the board is composed of sunk and raised instead of colored squares4 ,for the convenience of any ordinary person who may be playing with a blind opponent1 the cardboard squares should be colored black with ,india ink4 ,the checkers usually purchased have a molding on both top and bottom4 ,it will simplify matters considerably if you can buy a set with one side only molded4 ,by using the white men with the molding uppermost and the black men reversed1 as in ,fig4 #e1 the difference will be sufficient to enable the blind person to distinguish by touch4 ,illustration3 ,,fig4 #e4--,molded 7white7 and plain 7black7 draughts for the blind4 ,the same result can be obtained by glueing discs of cardboard or stiff paper1 upon one side of each man1 of one of the sets4 ,,halma ,the preparation of a ,halma board is very similar to that of a checker board4 ,having raised the alternate squares with cardboard1 the 8,homes0 at each corner should be further raised by glueing a piece of cardboard over all the spaces1 and then raising the alternate squares upon this base1 as in ,figs4 #f and #f;a4 ,illustration3 ,,fig4 #f4--,section of ,halma board showing 8,home40 ,in the center of each square a nail should be driven from the back of the board1 with the end cut off and point filed to smoothness4 ,these nails should project from the face of the board about half an inch4 ,the ordinary ,halma men have a hole on the under side1 which enables you to place them upon the upraised points1 where they will be held firmly4 ,illustration3 ,,fig4 #f;a4--,plan of raised corner4 ,it will now be necessary to make some alteration in the men1 to distinguish the colors4 ,in ,fig4 #g an idea of how this may be done is given4 ,the ,yellow men are left untouched1 ,black have their heads cut right off1 ,red have one half of the head cut away1 while the ,green have the head sharpened to a point4 ,illustration3 ,,fig4 #g4--;,color distinctions for ,halma men4 ,,dominoes ,owing to their construction1 ,dominoes really need no alteration to make them suitable for the blind1 but care should be taken when purchasing to see that the pips are cut deep into the ivory1 so that the player can tell at a touch how many there are in the piece before him4 ,,chess ,this is one of the games in which the blind frequently excel1 and in consequence it is a general favorite4 ,the undivided attention they are able to give1 and the natural acuteness which their affliction usually brings to such a pitch of excellence1 serves them in good stead when playing 8the king of games40 ,the board should be prepared as in the case of checkers1 with the exception that points should be made from the back1 in the manner described in connection with the ,halma board4 ,the different men are1 of course1 by their construction1 easily distinguishable from one another1 but it will assist matters very materially if a set is used in which the men differ considerably in shape and size4 ,in the center of each piece a hole must be bored in the base1 large enough to allow the man to be placed1 and removed from one pin to another with ease4 ,for this reason wooden chess men are preferable4 ,the question of distinguishing the colors has been solved in various ways4 ,in some cases the tops of the men of one color have been halved1 as shown in ,fig4 #h1 and this has proved a very satisfactory arrangement4 ,illustration3 ,,fig4 #h4--;,color distinctions for ,chess men4 ,others have used the black men of one set and the white men of another1 but this plan is hardly to be recommended1 owing to the similarity prevailing between all chess men4 ,the following method seems to be as good as any1 and has the advantage of being easily contrived4 ,drive a pin firmly into the heads of one set of men 7say the black71 and either leave plain1 or make a little knob of sealing-wax around the pinhead4 ,this will render the different colors perfectly distinguishable to the blind player4 ,,round ,,games ,in the majority of round games the blind are able to take an active part1 but this depends very much upon the individual concerned4 ,as a general rule rough games should be avoided1 especially if the space for playing be limited4 ,illustration3 ,,fig4 #i4--,the ,braille ,alphabet4 ,games in which a certain amount of writing is requisite are rarely suitable1 although here again it must be a matter solely dependent upon the person concerned4 ,at spelling and guessing games the cleverest seeing player must look to his or her laurels1 for the blind are very quick-witted in such contests1 and frequently have the answer ready while others are still repeating the question4 ,as a matter of interest as well as of use1 the blind alphabet of the ,braille system is shown in ,fig4 #i1 and by this means letters and notes can be written1 which will be perfectly intelligible to a blind person4 ,in pricking the characters through a paper1 it should be remembered that the points must be reversed1 and the letters begun from right to left1 as the blind person will read from the other side1 where the pin-pricked holes will have raised little points of paper4 ,,index ,,blind1 games for1 #ech ,alphabet1 the ,braille1 #edc ,cards1 #eci ,checkers1 #edj ,chess1 #edb ,color distinction for ,chess men1 #edb ,color distinction for ,halma men1 #eda ,dominoes1 #eda ,halma1 #edj ,patience cards1 preparation of1 #edj ,bunkum entertainments1 #abg ,ghost1 a home-made1 #ach ,lectures1 ,bunkum1 #ace ,maids of ,lee1 three old1 #acc ,thought-reading1 #acj ,trick shooting1 #acg ,ventriloquism1 fake1 #aca ,,cartoons and 8fake0 sketching1 #bfc ,drawing-board for1 #bfc ,easel for1 #bfc ,figured faces1 #bfg ,leading characteristics of1 #bfd ,reversible scenes1 #bgj ,simultaneous drawing of1 #bff ,smoke pictures1 #bfi ,subjects for1 #bfd ,charades1 #gf ,scenery and 8props0 for1 #gf-hb ,children's party1 #dgg ,ciphers and ,cryptograms1 #ebg ,appointment1 a musical1 #ecj ,cipher1 an early1 #ebh ,cipher1 the fractional1 #ecj ,cipher1 complicated fractional1 #ecj ,cipher1 ,government1 #eca ,cipher1 a musical1 #ecj ,cipher1 8two letter10 #ecb ,code1 the ,nihilist1 #ebi ,letters1 8transposed10 #ebh ,lines1 8bounding10 #ebg 8,sphinx10 the1 #eca ,writing1 secret1 #ebg ,circus1 home1 #cfg ,ball-balancing1 #cgf ,barricade and ring entrance for1 #cfg ,barricade1 construction of1 #cfh ,cards1 trick1 #cgf ,circus horses1 how to make1 #cfh ,conjuring entertainment1 a mock1 #cgb ,decorations for1 #cfi ,dog1 performing1 #cgg ,horses for1 #cfh ,indian sack trick1 the1 #cgd ,juggling1 trick1 #cge ,plates for spinning1 how to make1 #cgf ,target for trick shooting1 #cgc ,tilting scene1 #cgj ,clairvoyance1 #dbf ,character1 keys to1 #dbg ,crystal-gazing1 #dbi ,crystal1 use of1 #dcj ,kingdoms1 the three1 #dca ,magnetism1 power of1 #dbh ,sense1 the sixth1 #dca ,simple manifestation1 #dcj ,sphere1 the mental1 #dcc ,visions1 to create1 #dca ,clog dancing1 #bdd ,clogs suitable for1 #bdd ,double shuffle1 the1 #bdg ,single shuffle1 the1 #bdf ,slide1 the1 #bdh ,standing position for1 #bde ,variations of double shuffle for1 #bdg ,conjuring1 #aeh ,dissolving coin1 the1 #afc ,magic dye-works1 the1 #afj 8,patter10 #afb ,servante1 the1 #aeh ,table for1 #aeh ,wand1 the magic1 #aei ,watch and target trick1 #afe ,,dissolving views1 #cif ,apparatus for1 #cif ,apparatus for lighting1 #cih ,exhibiting1 #cii ,,electrical effects1 some1 #bhe ,arc lamp1 principle of1 #bhi ,battery of cells1 how to make1 #bhf ,battery of cells1 tray for1 #bhg ,compass test1 the1 #bhh ,decomposing water by electricity1 #bic ,electrical weathercock1 an1 #bij ,electro-plating1 #bid ,electrotyping1 #bid ,force1 magnetic lines of1 #bhi ,granulating zinc4 #bhg ,primitive electro-motor1 a1 #bia ,spark-producing1 #bhh ,warming water by electricity1 #bic ,experiments1 chemical1 #cab ,chlorine1 with1 #cac-cad ,electric fire1 #cae ,freezing flask of ammonia to wood1 #cah ,hydrogen1 preparation of1 #caf ,musical flame1 a1 #cag ,niter paper1 #cad ,novel fountain1 a1 #cai ,soap bubble1 to explode a1 #cag ,sodium or potassium1 with1 #cae ,water's affection for ammonia1 #cah ,experiments1 electrical1 #bgb ,discharger1 the1 #bgh ,dynamic electricity1 #bgb ,electrophorus1 the1 #bgg ,electrostatic motor1 an1 #bhb ,faraday's bell chimes1 #bhd ,frictional machine1 for producing electric charges1 #bhc ,gold leaf electroscope1 how to make1 #bgf ,leyden jars1 how to make1 #bgf ,positive and negative electricity1 #bhj ,special apparatus for1 #bge ,static electricity1 #bgb ,swinging mannikin1 the1 #bha ,experiments1 more1 #cbi ,carbonic acid gas1 #cch ,coin1 a disappearing1 #ccc ,electrified balloons1 #cce ,electrified paper1 #ccd ,exploding flour1 #cce ,flying coin1 the1 #ccj ,gas-making1 #ccg ,lamp-glass1 a cigarette-smoking1 #cca ,mirror1 a novel1 #ccc ,refractory cork1 the1 #cbi ,water swinging1 #ccb ,experiments1 odd1 #cbj ,glass-cutting1 #cbg ,illusion1 an optical1 #cba ,pyrometer1 the1 #cbe ,revolving man1 the1 #cbb ,wall1 mysterious writing on1 #cbj ,experiments1 scientific1 #big ,bottle cannon1 the1 #caj ,changing water into wine1 #cjj ,electric fountain1 an1 #cji ,eruption of ,vesuvius1 the1 #cja ,floating pins1 the1 #cjd ,glass-emptier1 a novel1 #cjg ,glass raising1 #cje ,glass raising1 extraordinary1 #cjf ,match trick1 a1 #bih ,peculiar candlestick1 a1 #cjb ,swimming paper fish1 the1 #cjc ,syphon1 #cjh ,tricolor glass1 the1 #bii ,vacuum1 creating a1 #cje ,,fireworks1 indoor1 #djj ,designs for1 #dja ,firework boxers1 the1 #djc ,frame and side wings for1 #djj ,revolving wheel for1 #dja ,views1 changing1 #djc ,fortune-telling1 #deb ,arcana1 ,major1 #dfa ,arcana1 ,minor1 #dfb ,cards1 by1 #deb-dee ,dice1 by1 #dee ,dominoes1 by1 #def-deg ,futurity1 figured1 #deh ,tarocs1 divinations by1 #dfa ,,graphology1 #dfe ,character by handwriting1 #dff-dga ,signs of1 #dff-dfg ,,handbell-,,ringing1 #aje ,bell-ringing companies1 #ajf ,flourishing with1 #ajh ,handkerchief manipulation1 #afi ,bow1 the double1 #agj ,knot1 the disappearing1 #agb ,knot1 a flick1 #agb ,knot1 the one-hand1 #afi ,knot1 the wrist1 #afi ,knots1 the instantaneous1 #aga ,hypnotism1 #daf ,auto-suggestion1 #dbb ,gaze1 the1 #daf ,hands1 motion of1 #dai ,hypnosis1 to induce1 #daf ,hypnotizer1 #dbb ,hypnotist1 #dbb ,method1 the mental1 #daf ,method1 the physiological1 #daf ,self-hypnosis1 #dbb ,subject awakening1 #dbd ,test1 a sure1 #dag ,timing experiments1 #dbd 8,under-sleep10 #daf ,,illusions1 ghost1 #ahc ,coffin trick1 the1 #ahf ,frauds1 mirror1 #ahc ,ghost producing1 stage for1 #ahd ,nymph1 the sea1 #ahf ,paris1 #ahe ,plan of room for1 #ahh ,reflection1 principle of1 applied to ghost illusions1 #ahc ,illusions1 optical1 #eai ,black print red1 how to make1 #ebf ,color top1 the1 #ebe ,dwarf1 the man1 and the giant1 #ebd ,hills that don't rise1 #ebb ,pins1 the standing1 #ebb ,zollner's lines1 #eba ,illusions1 stage1 #ahi ,cupboard1 the magic1 #ahi ,disappearing princess1 the1 #aii ,floating lady1 the1 #aid ,indian basket trick1 the1 #aig ,mandarin's head1 the #aia ,mesmerism1 ,houdin's1 #aie ,queen ,mary illusion1 the1 #aic ,reflection1 principle of1 for stage illusions1 #ahi ,impersonations1 #da ,rehearsing1 #db ,stage table for1 #dd ,,juggling1 #bbe ,double inside fall1 the1 #bbh ,double over fountain1 the1 #bca ,double vertical fall1 the1 #bbh ,falls from right to left1 #bbg ,horizontal pass1 #bbg ,inside and outside falls1 #bbg ,parallel fall1 the1 #bbf ,shower1 the1 #bcj ,triple shower1 the1 #bcj ,triple over pass1 the1 #bbi ,triple pass1 the1 #bbi ,vertical fall1 #bbe ,,make-,,up1 #bf ,adhesia1 #bi ,crpe hair1 #bi ,grease-paints1 #bf ,high lights1 #bg ,juvenile1 #bi ,liners1 #bh ,lining1 #bf ,lining paint1 #bg ,lip-rouge1 #cj ,low lights1 #bh ,mustache-making1 #cc ,nose putty1 #cb ,old age1 #ca ,removal of1 #cc ,wig1 measuring for1 #cb ,wig1 mid-gray1 #ca ,wig-paste1 #bf ,marionettes1 #ced ,curtains1 arrangement for drawing1 #cef4 ,curtain1 movable1 #cef ,figures1 home-made1 #ceh ,interior decoration for1 #ceg ,puppets1 the working of1 #ceg ,stage1 construction of1 #cee ,stage for1 #ced ,stage1 plan of1 #ced ,marionettes1 living1 #cfc ,black cloth arrangement for1 #cfd ,effects1 comical1 #cfe ,stage for1 #cfc ,stage1 sectional view of1 #cfd ,minstrelsy1 #ef ,end-men1 #ef ,interlocutor1 #ef ,make-up1 minstrel's1 #eg ,negro minstrel troupe1 seating arrangements for1 #ef ,nigger black1 #eg ,programmes1 #fj-fa ,songs and gags1 #ei ,speeches1 stump1 #ei1 #fe ,wig1 end-man's1 #eg ,wig1 interlocutor and sentimentalist's1 #eg ,musical glasses1 #aja ,harmonica1 #aja ,musical sketches1 #hf ,accompaniment1 #hi ,after-dinner stories1 #hf-hg ,burlesque1 #ia ,dual art1 the1 #hi ,self-accompaniment1 #hh ,mysteries1 black stage1 #agd ,assistant for1 #age ,barrel1 the floating1 #agi ,dimensions of1 #agg ,head1 the floating1 #agd ,lighting1 #agh ,vanishing man1 the1 #aha ,mystery1 room of1 #bja ,electric bells for1 #bjg ,ghostly sounds1 apparatus for producing1 #bje ,haunted house1 how to make a1 #bja ,magnet1 use of1 for mysterious tongue1 #bji ,mysterious hatstand1 the1 #bjf ,plan of1 #bjf ,potato trick1 the1 #bji ,,palmistry1 #dcg ,characteristics1 distinguishing1 #dcg ,hands1 #dcg ,hands1 proportion of1 #dcg ,hands1 quality of1 #dcg-dch ,hands1 shape of1 #dcg-dch ,hands1 texture of1 #dcg 8,mounts0 and their signs1 #dch-dci ,palm1 principal lines of1 #dda-ddc ,phalanges1 the1 #ddj ,papergraphy1 #bbj ,parlor games1 #dge ,apples and nuts1 #dhh ,auction1 the1 #dhb ,brothers1 the blind1 #dhd ,buff1 musical1 #dha ,cabbages1 #dgh ,coming1 the lover's1 #dgi ,dog1 the amiable1 #dhi ,fan fight1 the1 #dhj ,gardeners1 #dgf ,hieroglyphics1 magic1 #dha ,jack's going strong1 #dhf ,lawyer1 the1 #dgh ,line1 the longest1 #dha ,name divinations1 #dhf ,panama ,canal1 #dhj ,poets' corner1 the1 #dhe ,proverbs1 #dgf ,ring1 the missing1 #dhh ,shadows1 game of1 #dgf ,telegrams1 #dgi ,tidings1 #dgg ,whistle1 the1 #dhc ,wizard photography1 #dhg ,peep-show1 #cgh ,candle stand and roof protector for1 #chj ,lighting of1 #chj ,scenes for1 #chj ,scene-raising apparatus for1 #chj-cha ,stage front for1 #cgi ,peep-show1 mechanical1 #chc ,scene1 a double-barreled1 #chd ,wings1 revolving1 #che ,phonograph1 #ig ,programme for1 #ii ,programme1 a ,sunday1 #ajj ,records1 #ig ,songs1 humorous1 #ig ,photo pastimes1 #cda ,blue print paper1 #cdf ,one person in two places1 #cdi 8,photo-chemical10 #cdd ,photography1 meaning of1 #cda ,photography1 spirit1 #cej ,photos1 fireside1 #cdc ,pictures1 imitations of crayon1 #ceb ,portrait effects1 #ceb ,printing double1 #cec ,printing triple1 #cec 8,stops10 #cdb ,white light1 constituents of1 #cdg ,phrenology1 #dde ,chart1 phrenology1 #dde ,craniology1 #dde ,side1 the humorous1 #dej ,plate-spinning1 #bcc ,balancing1 #bcf ,plate waltzing1 #bch ,prepared plates for1 #bce ,spinning wand for1 #bcc ,table prepared for1 #bch ,punch and ,judy show1 #chg ,figures1 working the1 #cib ,framework for1 #chg ,ghost1 how to make1 #cic ,packing up1 #chi ,puppets1 how to make1 #cij ,scenery for1 #chi ,stage for1 #chh ,squeaker1 the1 #cie ,puzzles1 #eaj ,anarchists1 the dangerous1 #eaa ,chain1 the broken1 #eac ,checker1 the traveling1 #eaj ,diamond cross1 the1 #eac ,donkey1 catching1 #eab ,like to like1 #eab ,miter1 the1 #ead ,railway problem1 #ead ,railways1 the quarrelsome1 #eac ,rings1 joining the1 #eaj ,rows1 the ten1 #eaa ,solutions to1 #eae-eah ,,quick-,,change1 #cd ,cues1 #ch ,curtain-raiser1 #cf ,dressers1 #cg ,entrances and exits1 #cf1 #ch ,scenery for1 #cf ,sketch for1 #ci ,transformations1 one-piece1 #ci ,,recitals1 #aaf ,attitude for1 #aaf ,gesture1 #aai ,,second-,,sight1 mechanical1 #baa ,codes for1 #baa-bai ,secret ,signs1 #ecc 8,cheek10 the1 #ece 8,eyebrow10 the1 #ecd ,handshake1 the1 #ecd ,hat flourish1 the1 #ece ,italian secret society1 an1 #ece ,pass-words1 #ecf 8,patteran10 the1 #ecf ,shadow drawings1 #bga ,shadow shows1 puppet1 #bef ,plays for1 #bfa ,puppets1 how to make1 #beg ,puppets1 manipulation of1 #bei ,screen for1 #bef ,stage for1 #bef ,shadows1 figure1 #bec ,arrangement of screen for1 #bed ,shadows1 hand1 #bej ,light for1 #bej ,pictures1 how to make1 #bea ,screen for1 #bej ,singing1 #aaa ,accompanist1 value of1 #aac ,breathing1 #aaa ,pronunciation1 clear1 #aaa ,rehearsing1 #aad ,songs1 modern1 #aab ,voice production1 #aaa ,suggestions in black1 #fb ,banjo1 #fb ,bones1 how to play1 #fb1 #fc ,jokes1 #fc ,music for minstrelsy1 #ff ,,tableaux1 #fh ,lighting arrangement for1 #ga 8,props0 for1 #gd ,staging for1 #ga ,table-turning1 #dcd ,medium1 the1 #dce ,medium1 to discover1 #dcf ,power1 magnetic1 #dce 8,unbeliever10 to discover1 #dce ,telegraphy1 #daj ,alphabet1 ,morse1 #dae ,framework for1 #daa ,galvanometer1 a1 #daj ,keyboard1 the1 #dac ,message1 transmitting1 #dad ,needle1 magnetized1 #dab ,pointer1 the1 #dab ,receiver1 how to make1 #daj ,testing1 #dac ,transmitter1 how to make1 #daj ,telephone1 #dje ,bar-magnets for1 #djf ,bar-magnets1 testing1 #djf ,battery with connection1 #djg ,magnets1 cases for1 #djf ,microphone1 #djh ,microphone1 connection with1 #dji ,microphone experiment1 #dji ,mouthpieces1 how to make1 #djf ,receivers1 #dje-djf ,theatricals1 #aa ,back-cloth for1 #ba ,fire for stage1 #ai ,fireplace for1 #ai 8,flats0 for1 #ad-ae ,footlights1 the1 #ac ,gesture for1 #bc ,graining1 #ba ,make-up for1 #bd ,plays for1 #bb ,potzentausend1 play of1 #bb-bd ,prompter for1 #bc ,proscenium1 the1 #ba ,scenery for1 #ac-ad ,scene-painting1 #ba ,stage for1 #ab-ac ,stage door1 the1 #ae-ah ,stage-manager1 #be ,stage porch1 the1 #ah ,stage sideboard1 #bj ,stage trees for1 #ad ,stage windows1 #ae ,wigs for1 #bb ,tight-rope1 the1 #bdj 8,backward spring10 the1 #bdc 8,backward walk10 the1 #bdc ,balancing pole1 the1 #bda ,fixing bars for1 #bdj 8,forward spring10 the1 #bdc 8,forward walk10 the1 #bdb ,trick balancing on1 #bdj ,tricks and puzzles1 parlor1 #dij ,banana1 the obliging1 #ejj ,bands1 the mysterious1 #eja ,bite1 the magician's1 #ejf ,bottle1 to blow through1 #did ,fish1 dying1 #dih ,needle-threading extraordinary1 #eje ,repeater1 the magic1 #dii ,scissor trick1 #did ,smoker's fancy1 #eja ,string puzzle1 #ejc ,sunshine trick1 #ejg ,tangrams1 #dij ,will-power test1 #dii ,,universal hat1 #ej ,chapeaugraphy1 #ej ,,vamping1 #ib ,vamping chords and relative changes1 #ic-if ,ventriloquism1 #adj ,breathing for1 #adc ,dialogue1 ventriloquial1 #aej 8,distant10 #ade1 #aea ,figures1 ventriloquial1 #adh ,figure manipulation1 ventriloquial1 #adi 8,grunt0 voice1 #adf ,imitations1 ventriloquial1 #aed 8,near10 #add ,speaking with still lips1 #add 8,theek0 voice1 #adg ,,whistling1 #abc ,solos1 #abe ,,the ,,end ,transcriber's ,notes ,the language used in the source document has been retained 7including inconsistent1 archaic and unusual spelling1 hyphenation and capitalisation71 except as mentioned below4 ,in particular1 non-,english words and phrases have not been corrected unless mentioned under 8,changes made04 ,the 7minor7 deviations in spelling in the ,index compared to the text have not been standardised4 ,depending on the hard- and software used and their settings1 not all elements may display as intended4 ,discrepancies between illustrations and their descriptions 7e4g41 ,fig4 #a;,b in ,chapter ,l7 have not been rectified unless listed below4 ,items that cannot work as described 7e4g4 the rotating target in ,chapter ,,xx7 have not been corrected or explicitly noted4 ,possibly offensive language 7e4g4 in the minstrel entertainment7 and dangerous activities 7as the experiments with hydrogen and chlorine gas7 have been included in this transcription without further explicit warning4 ,page #aai1 the ,david3 as printed in the source document4 ,page #ahd1 ,the space1 ,d1 ,g1 is also invisible3 possibly an error for ,the space1 ,d1 ,c1 is also invisible4 ,page #baf1 ,the code for playing cards 4443 the intended meaning of the suits 7clubs and spades7 given and the explanation 7well and very well7 in the text contradict each other4 ,page #bie1 various combinations of wines and liquids3 as printed in the source document4 ,possibly an error for wires and liquids4 ,page #deh3 ,it is not clear why ,one-blank is not listed4 ,changes made ,the 7single7 footnote has been moved to the end of the chapter4 ,some minor obvious typographical and punctuation errors and misprints have been corrected silently4 ,page #fe3 emotional parts of thumping changed to emotional parts or thumping4 ,page #bad3 closing bracket added after the last two responses by the professor4 ,page #beg3 ,the complete illustration consisting of ,figs4 #aj-ab has been flipped horizontally1 as have the individual figures4 ,page #bie3 #8the coil has been mentioned' changed to #8the coin has been mentioned'4 ,page #dch3 reference to ,fig4 #b changed to reference to ,fig4 #c4 ,page #dge3 ,,chapter ,,lvix changed to ,,chapter ,,lix4